AMNESTY 2011: Locussolus – I Want It (Lindstrom & Prins Thomas Remix)
And, for the most part, so do we.
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[6.75]
Jonathan Bogart: Terrific! Can we get a single edit? </guy who doesn’t understand dance music>
[7]
Edward Okulicz: This remix is maybe three bad ideas stretched out to breaking point, or would be if it didn’t break me first every time I listen to it. Nice piano bit two minutes in, though.
[2]
Josh Langhoff: Imported from the sleek original, the dialogue between DJ Harvey and his female admirer is funny enough, especially if you picture them haggling over a donut, but Lindstrøm & Prins Thomas send their remix to exalted heights of lunacy. The music here is hilarious in itself; I will attempt to correct this hilarity by dissecting it. Some of the hilarity comes from the abrupt, precise marksmanship of the musical elements, horn charts and honky-tonk piano furrowing brows and pursuing serious purposes known only to them — I call this the Evil Choir From “Blue Monday” kaBLOOM! effect. (New Order: greatest comedy band since the City Slickers? Discuss.) Some of the hilarity is referential, with the immensely gratifying sonic punchlines “Shocking Blue” and “Mannheim Steamroller”. And the beat — THE BEAT — combines timing with reference, a giddy twitch recalling the Chemical Brothers’ “Galaxy Bounce”, which — you remember! — underpinned that immensely gratifying scene in Lara Croft: Tomb Raider, the one where Lara Croft raided all the tombs.
[10]
Jer Fairall: Spiky, rubbery funk of the sort that I could happily play on a loop for hours, until that goofy vocal hook kicks in and makes the track feel like it actually might last that long.
[6]
Kat Stevens: In the mid-80s Mattel-sponsored cartoon Jayce and the Wheeled Warriors, the young eponymous hero has to save the universe from biomechanical beings (engineered by his now-missing father) which are basically triffids with circular saws attached to them. The toy line didn’t sell very well so the series was left unresolved (i.e. dad still AWOL), but if they’d eventually made the movie and got to the Ewok victory party at the end, this would be a suitable wheezing, squelching organic-meets-mechanic disco soundtrack.
[6]
Anthony Easton: The miracle of disco and its children is making a 9:19 track with the lyrics “I want it/You want it/I Love it/I Love it” sound not only new, fresh, interesting and danceable, but sincerely plastic.
[8]
Katherine St Asaph: The party was getting into high gear until JaneDear’s vocally extended relatives showed up to crash it.
[7]
Brad Shoup: There’s no shortage of soul bands chasing nostalgia from city to city, but disco is a slightly more difficult trick to pull off, so it’s still up to the DJs. Lindstrom and Prins Thomas (themselves no strangers to the organic end of disco production) trick out DJ Harvey’s funk-house original with squelching bass, Stevie Wonder horns, and Dr. Buzzard piano. Oh, and “Venus,” cos why the fuck not. The female bits of the call-and-response have turned alien, as befitting a track that’d be at home in Mos Eisley.
[8]