Beginning today and recurring every Monday, we at Popwreckoning will be presenting a new feature called ‘Remixed Mondays’ to help throw a little mix into an otherwise mundane Monday. Each week we will be featuring either a specific artist or a specific song and a few remixes of that song. This week, we begin with Lykke Li.
How many wonderful artists can Sweden possibly be jettisoning out? It’s as if the country was created for the purpose of breeding talented and charismatic musicians, and Lykke Li is one of the latest.
She needs no introduction by now as the songs on her debut album Youth Novels have swept and knocked down all serious music goers by their sheer brilliance. The album, produced by Bjorn Yttling (of Peter, Bjorn and John fame), was released earlier this year and has received acclaim far and wide by critics and listeners alike. Her sound is a fun mix of modern pop and soul with a cute, fragile voice. All of this is only sharpened and improved by her own personal charm, which can be seen in her videos (just check out “I’m Good, I’m Gone”) or in her concerts; all energetic, pulsating and sexy. As good as her songs are, some are even better once remixed, and there have been plenty.
“I’m Good, I’m Gone” is an incessantly catchy tune with a piano riff that’s a hard-hitting bounce. It then adds perfectly placed handclaps, a jumping percussion and bass line, and Li’s soft yet commanding voice. But what really exudes the essence of this song is the powerful sing-a-long chorus.
Black Kids Remix
Black Kids do a great overhaul to the track. They speed it up, making it more dance floor appropriate with its four to floor beats, though leaving it intact for the most part. With the vocals left alone, they add an instrumental overlay to the original track. This consists of a tight drum machine, faint electric guitars, some light synths and a hard hitting disco bass for more of an electro-dance sound.
website | myspace | Partie Traumatic review | @ First Unitarian Church
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Fred Falke Remix
The Fred Falke remix shakes things up a lot more leaving only the vocals intact. The handclaps and bass lines are all replaced with a variety of ethereal synth melodies that give the track an airy, dreamy feel, transforming it into a soft dance floor mover.
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Metronomy Remix
The Metronomy remix is a darker approach to the song. It kicks off with a pretty impressive fast-paced drum solo of hi-hats, snares and bass, which is soon matched with space like synths and a powering drum machine progression. Like the others, this too keeps the vocals intact.
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“Little Bit” is a soulful track with Li singing in a strong whisper, sounding tender and coquettish at the most. A soft synthy bass line drives the melody with a wood block percussion kicking it in the background. This all matches up with light xylophone taps, creating an overall slow, hushed dance beat.
CSS Remix
I like the CSS remix a lot more than the original track. It adds a whole lot of character to the song. The mix picks up the pace of the tune significantly but keeps Li’s voice in delicate check. It adds a characteristic CSS drum beat that oscillates and bubbles with garish guitar distortions throughout. Definitely ready to be a dance floor favorite.
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Loving Hand Remix
Dance and Disco. DFA style. Loving Hand is Tim Goldsworthy of DFA records, one of the most talented producers of our time. This remix has strong disco beats that seem to be the choice of sound for DFA lately and the style of music they dish out at their Studio B parties. Goldsworthy slows down the pace a little and adds a very programmed electronic percussion line and a thick bass. Xylophones and wood blocks vanish, replaced by a saxophone. And in typical DFA remix style the song is extended into an instrumental number, barely remembering the original piece that it stemmed from.
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“Everybody But Me” is a slow introspective ballad. It is tender and sad. The song is carried by Li’s soulful and soft voice over light percussion and synths.
Christoffer Remix
The Christoffer remix entirely changes the song for the better. It is significantly sped up and becomes a bouncy, danceable electro-pop number. Laid upon the track is a thumping, electronic drum machine, that somehow still remains to be gentle. Added to that is a flourishing of synths around certain parts of her vocals. I’ve had this song on constant repeat for the past few weeks, it’s just that good.
Photo: Marcus Palmqvist
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