15 Oct 2004
Change the record 
"The remix - a radical and creative act of musical subversion, or an excuse to ruin a perfectly good song for cash?"

It all depends on who's twiddling the knobs, says Dorian Lynskey in the Guardian Review's entertaining article on the history of the remix to coincide with the imminent release of Depeche Mode's Remixes 81-04.

The paper also compiles its Top Ten Mixes which features New Order's Bizarre Love Triangle (Shep Pettibone Extended Dance mix) ["The go-to guy of the 1980s remix scene (Madonna, Pet Shop Boys, Run-DMC) gave New Order one of their biggest US hits."]

Other choice entries include Paid In Full (Coldcut's Seven Minutes of Madness mix) from 1988 and My Bloody Valentine's Soon (Andrew Weatherall mix) from 1990.

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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

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