There’s a gulf of under appreciated work in Bowie’s career, somewhere between ’93 to 2000. To me this is some of the most experimental and nostalgia-less work Bowie ever did. It’s certainly some of my favourite, and I think it is very successful in decoupling Bowie for his earlier endeavours (for better or worse).
With the development of new AI tools (Jesus Christ, have I really become a blogger who harps on about this AI bullshit now? Is that what this is?), we can, and reasonably cleanly, separate the vocals from these session. Or indeed any session or recording.
I wanted to build something from the 1. Outside album. Not traditional remixes, but sort of sound scapes that encompass the tone and atmosphere of the original recordings (I’ve completely disappeared up my own arse). Harsh and unforgiving. Experimental and inaccessible, but interesting. I want them to be challenging and unique. The acid test for this is to have a casual listener say the words “is this even music?!”
With that in mind, here is my remix (I hate that word) of “Hearts Filthy Lesson”. It’s unfinished, unpolished, unmastered, and that’s how it’s staying. I think if I work any more it’ll lose its uniqueness.
This was made with a Waldorf Microwave XT, some percussion instruments, some guitar pedals, a Mackie mixing desk and a Vermona DRM1. Oh, and some effects, like the TC Electronic Firework and Jomox T-Resonator and an Eventide H9. I think that’s it. The kick is sampled from my Jomox Base 01. Not that the gear is particularly interesting, as most of the sound comes from the editing.
I don’t know how I feel about this. It’s noisy and aggressive, it’s really a very difficult listen. But I’ll be damned if I don’t say there’s something about it I like it a lot. It’s the type of stupid, intentionally weird and challenging thing I’m proud of making. It’s horribly self indulgent and I expect almost no one else to like it.
And actually, that’s fine with me because even I’m not sure if this really is music.