We've had a superb response to the Tongue Riddim remix parts fun.  As we said at the time http://bassmusicblog.com/exclusive-tongue-riddim-rmx-parts, it wasn't really a competition as such, more just hoping to get people having fun with them and coming up with something new.  Which people certainly did - we've had loads and loads of tracks sent in, from 2 minute sketches to fully mastered 5 minute bangers, and it's been really interesting checking them all out.  Seriously, thanks to everyone who had a crack and came up with something, we hope you enjoyed it.

Unfortunately, none of the tracks would really have fitted in for a release on Build Recordings - some weren't quite produced up to the necessary levels for a full release, others just stylistically don't really sit comfortably with the direction Build is going.  On the positive side though, there are several that we really enjoyed listening to, might even play out, and want to big up on here.  We're going to critique some of the best in this post, and we hope it's interesting or useful to those who entered - and indeed anyone else who might want to know how people listen to and assess remixes.

First up is this mix from Awktave.  His name on Soundcloud seems to use the Russian character 'Щ' which isn't pronounced anything like a 'w' - but we can let him off because this is one of the best mixes we heard.

 

It finds its own space somewhere on the dubstep/breakstep/beats axis, and has kept the feel of the original quite well.  Awktave has, however, introduced a much harder bass sound, which ups the energy levels.  He also adds a lot of details, subtle FX, little hits and so on, which keep things interesting and varied.  The structure is tight - 16 bar intro, a short breakdown in the middle, no messing around there, but if we have a criticism it would be that the last third of the track doesn't really add a lot - it lacks a bit of direction.  Still, this is a good mix and well worth a download - especially if you liked L-Vis 1990's Dubble Step edits from last year. Definitely going to try this mix out in the club.

Next up, is this breaksy version from Terror Tone  (download here, or from the bass music soundcloud):

 

This one seems to take it's influences from the booming, chunky breaks sound of Deekline, and it does it really well.  He's straight in with some new string chords, a counterpoint type melody, and then later, an analogue bass stab.  The groove on the drums works really well, and it's complemented nicely by some well-considered chops on the vocal sample.  We're not 100% convinced by the big, whooshing build up in the breakdown, but it kind of works in this context.  In fact, this remix is a superb example of the style, except in one part - it's really lacking in sub.  Just cranking up the sub on the bass sounds would help, although to be honest we might even prefer filtering that off, and layering a great big 808 Miami-style boom underneath instead.  It's a shame that it's let down by this one factor - I think with that sorted, a lot of breaks heads would be happy to play this out in the club. 

Third, we've got this submission from Dubbel Dutch:

Now, this is a very interesting one, and really grabbed our attention - it's taken the original and completely twisted it up.  In fact, he's done it in 12/8 (or possibly 6/8) - the whole thing has a triplety, almost 'waltx' feel to it, which isn't something you can usually say about a havin' it dubstep mix.  So this mix gets points straight off for just being out-there and attention grabbing.  The unusual rhythmic feel holds your interest all the way through, and works surprisingly well - there aren't many new elements in the track, but that's not such an issue because they're used so differently.  The second drop introduces a new melodic idea, and it works well. If we were to criticise, maybe this melodic idea could be introduced earlier, and then developed further - some obvious tricks to try would be to introduce a melody that goes down in pitch as this one goes up, or some chords that harmonise nicely with it. 

Moving on, here's Sabbo - who has featured on this blog before:

This mix uses a halfstep pulse, but adds loads more rhythmic interest around that, so it doesn't really feel halfstep as such, it's pretty lively.  The main attraction for us is the reverbed marimba-type sound that he uses as a lead line.  It keeps the kind of 'tribal' feel of the original, but takes it into a different direction, with a melodic element that wasn't in the original, and is complemented well by an analogue-sounding bass underneath.  The second part of the drop switches up to a nice grimey square wave bass sound which is a useful change.  On the production side of things, there are a couple of aspects we'd change - the kick is a little weak, lacking in sub, and doesn't really seem to make its presence felt at the bottom end of the spectrum.  Overall, the bass end could probably be a fair bit heavier. The snare/clap backbeat, on the other hand, could perhaps do with some more top end sparkle, and even some close reverby space around it.  These aren't major concerns though, and overall this is a cool mix which takes the vibe of the original and switches it nicely.

Next, the Lightshapers:

The mix takes the original in much more of a dub-inflected breakstep direction - using the same rhythm as Dubchild's classic relick of London Elektricity's 'Cum Dancing' - and adds a buzzing distorted bass stab, the occasional reggae guitar sample (appropriately laden with nicely splashy spring reverb) and some nice extra FX. There's a lot of energy in this version, yet it's definitely a different kind of energy to that of the original - which is always good in a remix. The mix generally sounds tight, although the snare / clap could possibly crack a bit more - layering a rimshot underneath might help define it and add snap. Arrangement wise, everything works well and the use of the guitar, the effects and the generally interesting beat / percussion keeps the tune ticking along nicely. The only aspect we could criticise is that possibly things could be dirtied-up and grimed-out a little more - again, referencing Dubchild's version of 'Cum Dancing' should illustrate what we mean. However, this is a relatively minor stylistic issue, and one based purely on personal taste - overall, a very successful and well-executed remix.

So, that's the top 5.  But honorable mentions also go to the following versions:

Indelible: Takes the tempo right down for an interesting abstract hip-hop take, with great extra synths and sparkly bits. To truly stand out though, we feel the overall levels of rhythmic invention could be pushed further - think Samiyam, Mike Slott et al - and the melodic aspects definitely could be developed more, to create a fully mind-melting experience.

Metacyclic: Reworks the original into a heavy half-step number, but doesn't really let too much of its personality shine through - something we'll touch on at the end of this post.

Tehran: We like the way that this remix has slowed the original, both in tempo and spirit, to a moody funky number - as we said before, it's nice to hear someone take the parts into a different direction. Slightly let down by a couple of production details, such as a weak (and weird!) kick, and a bit of rhythmic confusion at the lower end.

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Final Points:

In a way, this was quite a hard track to remix, as there were relatively few 'musical' parts - the original works through sheer percussive energy and a tight arrangement. So for a version to grab us, it generally had to add something distinctive of its own. Whether this meant changing the style, rejigging the rhythmic feel, altering the tempo or adding extra melodic / harmonic elements, a successful remix needed the artist to stamp their own sound onto the project. We were sent quite a few remixes that basically used our drums, our bass, kept the same tempo and used the same FX, chords and vocal sample - leaving us to question what the remixer was adding?

People commission remixes from you for a number of reasons - maybe they are big fans of your work, maybe you are the hottest thing in Gabba-Tango at the minute, or maybe they think your name will add exposure to the release. Generally though, the common thread in all these things is that they want something different to the original - they want your stamp on it. Granted, this doesn't explain those fidget releases where 10 fidget producers (all no doubt bedecked in identical tight jeans/neon Nu Eras) provide 10 fidget remixes of a fidget original, but generally, if you are building a name for yourself as a deep house producer, and a dubstep label comissions you for a remix, the chances are they don't want a dubstep remix. Instead they want your remix to open the release to a different market, to show how elements from the original can work in a totally different setting, to demonstrate the label's wide-ranging eclecticism. And even if you did turn in a dubstep version, it should sound like your take on dubstep.

So, provided you turn in a remix that has at least some recognisable element of the original, the main issue is pretty much the same as for an original tune - is it good? Get that bit right, and really you can go as far away from the original as you like.

*note: this may not apply to remixes for bands, where the label / singer's ego demand that you keep their tuneless caterwauling intact. In this case, do your thing, and then do a dub for you and your friends.