When You Loved Me
13 May 2013
|When You Loved Me (Original Mix)||Boom Jinx & Maor Levi||6:14|
|When You Loved Me (Maor Levi Club Mix)||Boom Jinx & Maor Levi||6:28|
|When You Loved Me (Keyworth & Boom Jinx Remix)||Boom Jinx & Maor Levi||5:17|
|When You Loved Me (Juventa & Toby Hedges Remix)||Boom Jinx & Maor Levi||5:29|
|When You Loved Me (Maor's Deep Room Mix)||Boom Jinx & Maor Levi||5:52|
|When You Loved Me (Ambient Mix)||Boom Jinx & Maor Levi||3:04|
It's rare that everything turns out lung-grindingly voluptuary, but they really did it. It's so shocking to see people make something this extraterrestrial.
When You Loved Me (Original Mix)
This is what's known as a 'dream collab'. Maor was already a mentor at this point, to ilan Bluestone, riding high. Eide himself had less to show off, but any collab is better than no collab. Working on No Answers In Luck was clearly a priority, & a good one, so between their sparse discographies, Johan's savannah was drier. But a few good things are better than many bad things. I should blame Mat Zo & Andrew Bayer for raising the bar.
& this met it. I must praise this one rare thing which should not be rare: a good song getting remixes. At this point in time, they were thinking well.
Part of the joy of collabs is figuring out who is responsible for what. If it's on one person's album, it's another's work. EVen though this is not a single, it's still obvious who did what. In general: BJ did the tune, & Levi did the bass. Let's see each one, separately, because they really are unmixed.
ML lends his signature echoing waves to the basswork, which is his Sistine Chapel. The only kielbasa here is him, though: he somehow made a better lead-in to the show than the show itself. The electrotrash doesn't show up until after all the vocals, though. That's right: the climax is tuneless. The first minute is just the same drum tick again & again, eventlessly playing over & over with no change. Things warm up at 0:59: the electrotrash pretaste is here. Ending at 1:29, this sliver of twined delight reveals the structure of the etrash, though not the weight. It pulls out, creates a vacuum, & refills it again, which is third-eye-blindingly hypnotic when it is this reduced. The added complexities fuel the fire with succinctly sliced vocal cuts butting in & falling out, a more sliding, slappingly wet kickdrum heralding the anthropocene, & an irregularly bolstering whine putting bricks of quality upon each other. This all becomes muted when we get our first vocal section. This half-minute is a tuneless void of ambience, psychicly capturing the weightlessness of space with detached bloops floating about. This too falls away to reveal the mind-sloggingly dreamlike cosmos that is WYLM's hypocentre.
The path in is quiet & untouched by tripping hazards. 1:59 begins the calm before the corm, especially considering what comes afterwards. The muted clapping softly washing over the strings wrapped by vocal waves casts the pillowiest fog over the mind. But just because it's submental doesn't mean it's aimless. It pacifically winds up, mons olympus style, almost imperceptibly heating up, getting warm enough for bubbles to rise to the surface when the tubular sound reflection instrument seizes its time as the cherry of this cheesecake. At first, it's a two-stroke, adding a new colour of flame to the blaze, tantalising by quizzically asking what the next motion could be, quietly ending the round at 2:18 with a cold flicker. The next time it comes, it's expanded into a four-bladed clover, rising on thermals towards a place where Earth's rotation has no effect on it. The vocals & bass return, the strings replenish, & the entire scene is one technidolour cobra hood flared as wide as the eye can see. It has to be, since the upcoming tune is more wrenching than any snake's acid spit.
3:00 is the first & final argument for why stringed instruments are acceptable. This one is less like a guitar, with imprecise strokes: the sound is more clear & particular. The strings, the centrepiece, earn their way to the foreground. Each deft touch of their innocent despair is another pinwheel's radiating cascade of inkwell skies that light up only when lightning flashes. & how the skies clash! The unworldly professionalism & untouchable guanxi all the variegated parts is unthinkable. The hydrogen of the strings' innocent dismality burns with the oxygen of the bass' quiet fury to fuel the space cumulonimbus of the heart lesion dualism of the perfect model for a song: some sadness, & some darkness. Ratios may vary, but these two must always be the essence of music. When they unfold from the chrysalis of backing atmos to bask in the atomic sunbeams & soak up the x-rays, they strip the chains & friction from a world of manic weightlessness & disconnection, holding our heads under the surface of a Nectar Loch & passing into the apex life. The immersive magic of WYLM is entrenched by the tangible ambient sounds, from the odd, childlike animal whine at 3:01, to the watercrashing & vocal ringing, each translucent return another layer to delve into. This well is deep, & too thin to climb out of again, making it the perfect choice to sink yourself into. Texture does not get richer than this. This thirty second Marian apparition is more than enough to inspire four remixes, although it isn't over yet.
The next half-minute is a needed upramp to the minute of conceptualist brisktrash that is the yang to Eide's yin. See, WYLM is a dyad, as most songs here are; it's just more evenly split than them. The ramp towards the fall is as smoothly jarring as aeroplane propellers, high-pitched yet saturating. Digitalised propeller spins were the best choice for this lead-in: they patternise & wind up along the technofunk of the background corkscrewing over & over again. The memories never stop, as the climax, devoid of all tune, gives primariness to concept over the final result, although that's not what screws this up. Although 3:59 is a plunge, it is not the most rewarding. I have bought Genix's Maheno for 85c, solely for the electrotrash (the middle is easily cut out in Audacity). I could never buy this electrotrash if it were standalone. I can't offer advice, since electrotrash has no limits, unlike tunes. WYLM's is a 4-2-2 structure with a missile trajectory & a firecracker bang. The mechanical wobbles & whips save this from being an unlistenable waste of my time, but the main attraction, storebought, unspecial instrumentation arranged in a preset mold, is worse than a wet blanket; it's water on the fire. Either way, you'll buy this in Vol 10, so it won't matter.
When You Loved Me (Music Video)
Somehow, this & not any of BJ's NAIL songs got a video. Maor doesn't have any other vids on AB, either. Anyway, five seconds in, & already, a problem appears. They put text in the video, as if we need that, in a difficult font, in a terrible colour for the background. It fades in at 0:08, a choice which hurts. The description points out that it's also made by whoever made the videos for How You Make Me Smile & Stranger, which makes sense, since they all use the same elements, a couple, in the most predictable way. Only their themes distinguish them. Nothing out of the ordinary, nothing unexpected, not even anything that I couldn't do, which is a rare fact. HYMMS is easily the laziest, & Stranger has the rescue & abandonment plot, but this is the only one with unidentifiable objects getting smashed. The peak of the song is not treated as its own spectacle, but rather as a mere lead-up to the climax, which it is not. The climax itself has camera shots that go on for way too long, as usual. The content depicted is fine, though: smashing & burning things is a better move from the same hacks that brought us a music video where nothing happened. Betty did a great job of looking forlorn & intimidating. Be warned: they use the radio edit, which lays the vocals over the climax for some reason, & even adds one new line performance, although this doesn't improve anything. Having her confirm her independence & opposition to connection was a just & unambiguous way to end the video, although I could live happily knowing that I would never see this again. Myles Desenberg should retire if he hasn't already, although this is the closest I'll ever come to recommending watching an Anjuna music video.
When You Loved Me (Maor Levi Club Mix)
ML thankfully decided that he needed to put his stamp on this much more than whatever he had previously done. The credit for the tune portion of the OM can theoretically be almost entirely handed over to ØJE, although I'm sure that Maor had something to do with it. This is all him, though. Ab initio, even the vocals are wrested away from their original habitat & backed by his new creation: 1:07-1:37 shows a mildly antagonist & sportslike tune, draped in a wartime drumbeat. Per se, it's nothing to listen to. It serves as a foretaste for the real tune centres, both of which command & demand love. Despite all this tuneness, this still doesn't have a tuneful climax. Nevertheless, it's worth getting, for the entire extravaganza. After the entree, the true devilry begins: 1:37-1:52 is an unpreceded experiment, breaking new ground on new planets. It's the same tune as before, except removed from earthly sensation. It's a cesium blast of eight detonations, arranged in fours, reducing each time, combining into a tune that fills time well. The best bit of this spagyrism is easily the brief flurry of enchanted rivulets sandwiched inbetween. It's a needed & apical touch of spasmic wonderment, which is a relief from the grounded sensibility of the rest of the mix, & a neuristic probe by itself. The best alchemy in this, however, is easily the subsequent period, from 1:52-2:07. If this were not here, then this would not be worth paying for, although I can stand to listen to the rest. This snippet is a smooth, gold cap on an off-white pyramid, the best out of a middling selection. It's only fifteen seconds, but ML managed to craft a jouncy, bucking movement, which is melomaniacally jolted by a quadruple-carom halfway through. It's the same tune as before, but now, it feels out of the future's left field. Elevated, this flying fish flows in & out of the water of my head, deepening & widening all ṭarab.
But we must return. To the ground, it seems. What will ML serve up this time? This electrotrash is unrelated to the OM's. Whereas that was more conceptual, i.e. for show, not use, this is thankfully much improved. 2:22 breaks whatever gates were held up, demolishing the dam & letting us drown in the waves of raw meat abrasion that he scrapes from the bones of the sky. This is the most unapologetically indulgent electrotrash on AB, & it feels better for it. The mechanical milling feels even more like real animal furor, more visceral & skincracking, almost visibly bleeding from anger. Industrial whines complete the tour of Hell's Everest's Bermuda Triangle, & it's back to a repeat of the whole train, except without the first lead-in, & the good part has lyrics now. Thank you, Levi, for returning to your grace.
ØJE also returned to reshape his song, & he thankfully worked with Casey to combine their neurogenetic talents. 2013 was the biggest year of progress, the biggest split in the dam, the widest gulf between years of all time. The difference between the styles of 2012 & 2014 dwarfs any other gap in music history, & this was a part of the exodus from trance. Although this specific style sadly did not catch on, it did inspire others to raise the bar & seek new pastures. Keyworth did have his own specific style, & this isn't it here, but the distinction from Eide could be heard by a deaf person. There is a Gulf of Carpentaria-sized gulf between the two, shown in the edge separating the OM retread's redressing from the dubmech-influenced spacemeadows. The world needed another harshly divided dyad, like the OM & Maor's CM. Such artistic merit is a blessing, since it explores sheerer, harsher cuts from one style to another, sweet when set against the sadness-anger dichotomy of good music.
Both musicians did an exospherical job. First up to incinerate the cinerea is the Norwegian, reworking his OM leas into even less tangible dimensions. This is the ghostliest that music has ever reached, the bells even further removed from corporeal action & drowned in spectral waves. The echoes & the tempo team up with the new shaken tintinnabula to strike up a sense of distance from the sound. The disappearance of the undergrounded bassline beefs up the contrast between the OM's squeezable flesh & this mix's ungraspable mist. It flows around in the air, held aloft by randomising, phantasmal chimes. Sadly, it does begin with a half-minute of almost silent dreck for barely any point. There's not much experimentation, since not much happens; & it doesn't help with setting up the unscalable rift between yin & yang, because the tune portion itself does that fine enough. So the first thirty seconds amount to a moribund walk to nowhere. Everything that follows, thankfully, is more flawless than the Hope Diamond ever was.
Starting at 0:59, the CK influence begins to simmer. His muscle rocket engine grunts rockier than Uluru, guttural & glottal, feeling realer than a car running you over. This doublet is starker than heaven & hell, & found nowhere else: light & dark, soft & hard, lucent & real. This experiment worked, & has advanced music by years.
Putting verses in climaxes is one of the best things a musician can do. This is similar; they put the climax in the verse. This pretaste is its own slice of magic, a meringue the mind can bury itself in. The vocals floating against the black space & bright light of Keyworth's quasars is a phenomenal achievement. The crushing weight of the emptiness of the vocals' background only makes the cracks & crashes rip more deeply. 1:38 shows a development with the tune; a new simplification & emphasis on the last notes of the tune. This harkens back to Eide's ad jingle days, but it's premial. Another prolusory warning flare at 1:58 tips us off about what's to come. Casey does not disappoint.
The vocals quietly seething on top of a stringed instrument timidly watching for predators is the magnality this preterror needed. The instrumentals can't be loud, or even change notes; it's all a big caution. This is maestroness.
There is one final goodbye from the tune, & even though it is no more than the OM again, it is wrapped up neatly, as a pier stretched out to the edge of the universe. We shall walk this plank together.
Below us swims the frozen ink of eternity. We take a step: & boom, we're there. Have you ever fallen from a great height? I recently did, in a dream, & I was struck by how fast the ground came up to meet me. There was no delay: the ground wanted to meet me as much as I didn't want to meet it. This is the same: there is, unusually, not much lead-up at all. But then again, this is an unusual mix.
3:20 hit me out of my seat the first time I heard it. I was dumbstruck, eartorn, aweripped. As I sank to the floor, I knew I had to buy this. The unfiltered, untempered, unmoderated temple-burning turned a new leaf in my book. The jungle of the rivesaws is a fifth-degree burn dreamland. The smell of blood hangs in the air, so breathe deeply.
The main saw grinds to the bone & grinds that bone to fine dust. Every so often, it churns higher, the revs executing a real revolution. The ticking of the muffled clock tethers us, but not to a known thing. Every wet slap of the drums is a corporeal stab. The linear whirr is a deep version of the high-pitched whine we often hear, in more than one way. The crowning desecration is the bubble being inflated, & then popped, releasing freely flowing black box jellyfish venom in all directions, in all dimensions. Fluviality is a wonderful thing. Rheomaticians like these are worth every second. Also flowing is the slowing spins of the galaxy pinwheel, announcing that the end is nigh. Next is the shifting tides of watery outbursts, inundating high & low, capping off that psycheswellic flood. To top off this madhouse, CK brought in the bellissimo psychebellia, pealing the knell at just the right note & time to unleash the sensation of undistracted madness.
What a masterpiece. What a year. What a planet.
When You Loved Me (Juventa & Toby Hedges Remix)
Post's second appearance & Hedges' first went as expected, preternaturally. Juventa especially has carved out a shining path for himself, with songs such as Freefalling & Suedine (83 Remode). This remix is conceptually the typical predictable routine sort, where they bring someone in to make it more regularly structured, with a tuneful climax instead of a tuneless one. They definitely had the opportunity to make a quick, easy buck by lazily reshaping it into a more traditional structure & doing nothing more. However, the duo did not disappoint. There is no hint of laziness in this mix; only the thick sauce of effort. Of course, even if the generic-style conversion had been handled by an incompetent like Jerome Isma-Ae, a mix of WYLM with a tuneful climax would still be an essential anyway, another Vitamin C. I don't know what was handled by who in this, despite my history with Jordin, but either way, it turned out faradaic.
Most of what we see here can be attributed to BJ & ML, clearly. So what did J&TH really do? Well, we can thank them for not sleeping at the wheel. The most unforgettable, unerasable pile-ups happen out of laziness. They first excelled by representing the ethos of 2014, every second a repast. The opening dambreak is a banquet by itself, tattooing the brain with the vocal cuts, nestled in the Cytherean beat, knocking, sliding, crisply thumping & snapping at exactly the right femtoseconds. But P&H didn't want us to wait. They threw in light echofades, rewarding us with their presence, leading up at 00:59 to the satinet electrobow that feels so ethereal yet fast, zipping gracefully to MACS0647-JD & back in a tan-wave arc so thinly & cleanly, the resulting grindblade leaves a crater. The electrotrash abrades air into dust, & the 'ck' in 'clack' is projected higher than ever before. Then the millstone takes a backseat, but the swinging Hyakutake of a vuvuzela doesn't. The vocal prelude appears with subdued festival horns, driving off a cliff at 1:59 into the warm embrace of the distant ground. The party klaxon is a peak (15) instrument by itself, & it makes the perfect weapon for this unthrottling, yet charged atmosphere.
2:29 sees the beating recede into watery echoes, remnants of sound reverberating as fading rivulets. The clacks become sentimental, sepia-toned shmacks, while the tune is perpetuated by solemnly touching piano. The minibass returns as the piano delicately tervolutes a little. 2:59 begins of the most memorable & breathgrasping events in Anjunahistory: you've heard tuneful lead-ups before, but this one is special. At once, it marches strongly with a warlike devotion, while being as eternal & colossal as an Acropolis on a Colosseum on a Pyramid. Each note of this heartsmoochingly fades away into a construction that it simultaneously depressive & fortitudinous. The flagging feel of the descending notes feels so overshining when paired with the clearly anticipatory march of the beat. No standard here, only high standards.
3:29 breaks open the walls of the Red Sea for a minute. No matter what vocals they put in this climax, it would have felt as though they took the verse vocals & acclimatised them, which is always spectacular. The diving board is a pair of ascending, spring-loaded shots. After this murder, your body will fall into a pool of grand grindsaws, unleashed pianic synths, & vocals that are set right. The more intricate tune is glossy upon the bedrock of the lead-up's simpler incantation. 4-4-8 is a goldmine.
When You Loved Me (Maor's Deep Room Mix)
Maor Levi returned to remix his song again in 2015, as a Bonus Track for Boom Jinx's album No Answers In Luck. He was right to think there was more. This moght not bear a large amount of relation to the OM outside of the vocals, but it feels smoothly right, instead of contradictory or ill-fitting. But this mix is not just appropriate, but the pinnacle of this genre & of music. Effortlessly fluid & slick, it's a frictionless cream the likes of which you've never tasted. There is other urban-type deep house, such as from Journeyman & Lancelot, but this is unperturbed by flaws or setbacks, crafted into a truly infrastellar heat with a Plutonian coolness. The vocals are pitch-shifted lower, & random cuts gracefully accentuate the ends & beginnings of each portion. The main meat is the 4-4-8 descending tune, mellifically portrayed by an outstanding beat that halts at the right moments, leaving you craving more, & therefore tasting preterlegal when it caresses your tongue. Atmospheric swirls dance around too, fulfilling the sensual ambience. Sometimes, the tune is made by wisps, & sometimes, the soft glassy tintinnabulator comes on harder, but it's always antichronistic. The unincorporeal whirls are stunning. This is what deep house should be like, smooth & velvety.
When You Loved Me (Ambient Mix)
This is a Soundcloud release that is free to download. This is not an original composition in any way; it is just OJE's compilation of all the vocal parts of the OM. There was not really a point to this, except maybe as a shortcut to making a chillout mix.
- as in separate
- except Mat Zo's 'Sinful'. It's entertaining.
- as in neurogen-associated.
- Which he would take again later.