A quick post today as I’m off to London soon for a very exciting book-related event. I’m usually not one for remixes, as a rule. Aside from some artists, they’re normally just not for me. I gave this one the benefit of the doubt though – it’s Bess Atwell, of course I had to. She’s enlisted a string of musical friends to remix tracks from her record Already, Always and the tracks are emerging as the Already, Rearranged EP (Sept 16th). The first track sees Igor Haefeli (Daughter) rework Time Comes In Roses and I have to say, I’m vibing with it. Elsewhere on the EP we find Billie Marten, Liz Lawrence and Chartreuse. Dreamy.
Bess writes: “When we decided to do a remix EP I never imagined we’d create something I’m so proud of and excited to share. I’m a fan of every artist involved in this project and I wanted them to have total creative freedom and to showcase their own perspectives on the songs. Considering I gave them no brief at all, I’m all the more proud of what we created and the tracks as a cohesive body of work.”
“I love remixes that keep roughly the same song structure but still manage to reinvent it. Igor did an amazing job of re-contextualising this song, gifting me the ability to hear it as if for the first time, from the outside. I absolutely adore this remix and was so excited when I first heard it.”
https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1304488048&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true
Bess Atwell ยท Time Comes in Roses (Igor Haefeli Re-edit) [feat. Daughter]
On the process of remixing the track, Igor shares: “When I first heard ‘Time Comes In Roses’, it instantly felt like an honest and vulnerable song. The lyrics seemed as if they’d been written without too much judgement, beautifully composed yet raw. My original idea was to splinter different parts of Bess’s vocal to push the stream of consciousness feel even further, but I just kept coming back to the song’s original structure, back to how it flowed naturally. The colour really tilted for me once I started emphasising and manipulating some of the darker parts of the track. I think that’s what I really connected with: the idea that we all have different faces, a few of which we might not be proud of but are, nevertheless inherent to ourselves.”