Release Date: Apr 17, 2012
Record label: Mute
Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Pop/Rock
In recent years Nick Cave’s faultlessness has become blindingly apparent. A side project isn’t customarily known to overshadow a primary band. With Grinderman, however, Cave rediscovered his dirtier, darker muse and became inspired enough to release two albums that overshadow more recent Bad Seeds offerings. Suddenly, Cave growing a sleazy moustache made sense.
The idea of Nick Cave as a remix-appropriate diva is such an excellent one that you might wonder why his hideous shrieks and cadaverous croon haven't been pillaged by DJs a hundred times over. House music, at least, has always had a taste for mixing religious ecstasy into worldly grooves, even if house producers have tended to draw more from the uplifting end of the gospel spectrum. But there's also been a side of house that's reveled in sampling hellfire condemnations and apocalyptic oratory from folks who probably wouldn't set foot in the secular houses of sin where dance music lives.
Grinderman's second remix collection features collaborations and reinterpretations, and of course remixes of songs from Grinderman 2. The cast is interesting: Robert Fripp, Nick Zinner, Barry Adamson, Andrew Weatherall, Joshua Homme, UNKLE, and more. Asking whether or not this collection is desirable is completely different than asking if it's necessary.
Although the re-explosion of vinyl as an art form and audiophile medium has performed a positive role in both reconnecting with and rewarding physical music buyers, the spectre of exploiting rekindled faith has been a little too tempting for the record industry to resist. Hence, amongst other recurring vinyl trends has been the revival of the remix 12”. Once a sometimes dubious ‘80s/’90s phenomenon for securing extra needle and sales time for more pop and dance orientated artists, remix 12 inchers have now opened their grooves to less obviously susceptible artists.
Once upon a time the remix of a rock record consisted of little more than adding several bars of an instrumental breakdown after the second chorus, about an extra two minutes of beats with beefed-up Linn drums and some splash pads over the snare throughout. Money for old rope to be sure but at ….