ui - Unlike Remixes Vol 1
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Torrent File Content (9 files)
ui - Unlike Remixes Vol. 1
Torrent downloaded from www.Demonoid.pw.txt -
Torrent downloaded from www.Demonoid.pw.txt -
47 bytes
Notes.txt -
3.56 KB
Front.jpg -
15.29 KB
03. Sexy Photograph - Remixed By John Mc Entire.flac -
13.95 MB
04. Ring (Hissy Boy On The Hand Crank In The Kingdom Of Reverb Mix) - Remixed By Ian Blurton.flac -
25.02 MB
02. Ring (Descriptive Mix1) - Remixed By David Dacks & Nick Holmes.flac -
30.5 MB
06. Ring (Descriptive Mix2) - Remixed By David Dacks & Nick Holmes.flac -
30.52 MB
01. Horn Crown Label - Remixed By Sacha Frere Jones & David Linton.flac -
49.53 MB
05. The Piano - Remixed By David Linton.flac -
85.27 MB
Description
Music : Other : Lossless
Artist: ui
Album: Unlike Remixes Vol. 1
Label: Lunamoth (M2 60005)
Country: USA/Canada
Year: 1995
Genre: Abstract/Experimental
Total Time: 49:55
File Type: FLAC
Lineage: CD => WAV (EAC) => FLAC (dB Power Amp)
Tags: MP3Tag
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01. Horn Crown Label (Remixed By Sacha Frere Jones & David Linton)
02. Ring (Descriptive Mix1) (Remixed By David Dacks & Nick Holmes)
03. Sexy Photograph (Remixed By John Mc Entire)
04. Ring (Hissy Boy On The Hand Crank In The Kingdom Of Reverb Mix) (Remixed By Ian Blurton)
05. The Piano (Remixed By David Linton)
06. Ring (Descriptive Mix2) (Remixed By David Dacks & Nick Holmes)
Six tracks, 49 minutes. Remixes of material from The 2-Sided EP and Sidelong. Remixes by Sasha Frere-Jones, Tortoise's John McEntire, Change of Heart's Ian Blurton and Canadian tape-maestros David Dacks and Nick Holmes.
In The Wire 141, Ui's Sasha Frere-Jones said that his aim was to recreate the miscegenist, punk-funk spirit of early 80s New York records like ESG's "Moody" and Liquid Liquid's "Caravan" (the basis for Grandmaster Flash's "White Lines"). Although Ui have less bounce and more psychedelic, kosmische-slop than their forebearers, they have successfully updated the reworkings of funk spatial and textural cliches into the 90s rubric of "post-rock." The principles of jazz Improv and HipHop and dub collage are used by Ui to break up anchoring structures in an attempt to achieve sound for sound sake.
With a typically sparse and oblique remix by Tortoise's John McEntire, and minimal, off-kilter versions by Change of Heart's Ian Blurton and Canadian tape-maestros David Dacks and Nick Holmes, though, the remixes on Unlike owe more to the avant garde than they do to The Slits, CAN or P-Funk. In fact, the most rock-like element here is a squelching, acid bassline on David Linton's remix of "The Piano" that has the same linear, forward momentum and thrust as a I-IV-V guitar pattern. To call this "rock" because there are a few snippets of guitar is to fall into the same trap that keeps America locked into its Pearl Jam hell. After all, Public Enemy used more guitar solos than the first four REM albums combined, and you wouldn't call them "rock"would you?" - Peter Shapiro, The Wire
"There are a handful of rock bands that have gotten the smart idea of using the ideas of dub - turning music inside-out in the mix to discover its hidden rhythms- without the genre constraints of the reggae forms in which those ideas were developed. To that short but trailblazing list (Tackhead, Tortoise, Dub Narcotic Sound System and probably not more than a half-dozen others), add the New York trio Ui. The band first record, the mostly instrumental, vinyl-only 2-Sided EP, tweaked rock sonic conventions by mostly eschewing guitars in favor of a bass-bass-drum gut-punch, but Unlike takes two of those songs (and two new ones) into outer space. You have to do A/B comparisons of the remixes with the originals to determine that, in fact, they're based on the same recordings. One version of "Ring" takes its looping rhythm and builds on it with ticking overtones hidden somewhere in the band recording; presence; a third changes the tempo and preserves only timbres of sounds that were pretty deep in the mix to begin with. As a bonus, Unlike is great for testing the bass response of your speakers: here hoping that the blown-out sound of the album ultra-low intro is supposed to sound like that." (Douglas Wolk, CMJ New Music Monthly)
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