jacques lu cont: can do no wrong....defend/refute

But, other than that, remarkably consistent.

At this stage - yep, JLC can do no wrong. And if Zoot Woman can stop sounding too much like the Buggles then he'll be unassailable.

Jacques is a hard working professional.

Gwen Stefani - What You Waiting For

The remix of this is a total change in tone from the original. Where Gwen's version was boppy, loud and a bit obnoxious, this mix gives the song a sort of sad, 80's nostalgic quality. I have no idea why. His dub is fantastic too.

Madonna - Hollywood

The remix shits all over the original in every way. No wonder Madonna used it for that infamous lesbian-ish MTV awards show performance.

No Doubt - It's My Life

Not really something to dance to, but sort of relaxed and peaceful in a way, as opposed to No Doubt's screechy original.

Felix Da Housecat - Silver Screen Shower Scene

A total overhaul that sounds nothing like the original. An unexpected surprise.

Goldfrapp - Twist

Really really weird stuff. But good. And sorta creepy too. Love the way at the end of it how everything comes too a noisy clangy clashy stop with weird breathing noises. Sounds like a machine breaking down!

Britney Spears - Breathe On Me

Took a while to grow on me but it has some great moments.

Can anyone recommended some other great mixes by Jacques?

but i think i blew it and supersaturated myself with JLC this weekend. but what a weekend!

disco to disco

a remix so good its on his album as a LRD track.

He also needs ever so much to release another LRD album....like NOW.

Also: He remixed Mr. Brightside!?!!?! Good or bad, I fucking HAVE to find that. Where'd you hear it?

Jacques should remix the Ratpure.

Grammy award winner!!!

Best Remixed Recording, Non-Classical: Jacques Lu Cont, "It's My Life (Jacques Lu Cont's Thin White Duke Mix)."

That said, I'm not sure how much I like some of the older LRD stuff. I'll have to go listen to it again.

CONTROL CONTROL CONTROL CONTROL CONTROL CONTROL CONTROL CONTROL CONTROL CONTROL...

This is, of course, EXACTLY why I want to hear the Mr. Brightside remix.

but i gotta say i still find the gwen stefani remix a little flat & boring!

A collection of his remixes or all new? Either way, I kiss you, this is beautiful news.

I think you begin to understand Ronan´s point about the importance of remixes lately when you contemplate all these remix collections and the breathless excitement they generate - remixes have always been the bread and butter of dance music but it seems like now more than ever the key players´ reputations are being forged through their remixes.

There's something about it that suggests a healthiness and frenetic side to the scene at the moment, like could artists really be prolific enough if they were releasing all individual singles and not popping up as remixers everywhere? It really allows for an individual sound to emerge, it's a weird phenomenon of the electro-house explosion, though perhaps there are parallels with other points in history or genres, dancehall even?

http://www.thedirectorsbureau.com/

Oh, and Jacques is ace, by the way!

it's strange to think that darkdancer still fits in with the sort of music around now, even though it was released around 10 years ago. I'd never thought that it would be a CD that still gets really great reaction when I dj.

It wasn't that much of a success around the time of the release was it?

Everything else = amazing. Including the Killers mix.

my top 10 jacques remixes, I hope I don't forget any!

1. silver screen shower scene
2. hollywood
3. the faint
4. zoot woman-gem (this one is AMAZING in a club, his most banging record ever I reckon)
5. zoot woman-grey day
6. zoot woman-living in a magazine
7. starsailor
8. gwen stefani
9. lrd-sometimes (lrd remix)
10. cassius-my feeling for you (lrd remix)

did I forget any? I think that's pretty comprehensive, a really mixed bag of styles too!

x-post yeah he's Paper Faces too!

(actually, I could. Again with the too much sow's ear thing)

Mixes for Placebo and Mekon a bit phoned in, but that's all I got so far.

Paper Faces is collaborative, at least according to an mp3 I got - Stuart + 1 Zoot Woman.

didn't seem to be simply an issue of whether you liked the music or not way back 10 minutes ago.

Wall of Sound is surely an ailing untrendy label by now, I think the project was quite light-hearted and never really claiming to be hardcore dancehall, it is called "Two Culture Clash" and to be honest I think the result is just a quirky and slightly odd mash up of some fairly incongruous sounds.

I don't rate the record very highly, alot of it was just boring for me. But I did enjoy one of the Jacques tracks and I thought the Jon Carter one was ok too, to be honest. The Jacques one with the male vocalist fits the quirkiness I mentioned above, it sounded like one of his own productions really.

I don't see the record as greatly cynical or sinister though, most of it sounds like a fairly off the cuff partyish project. I didn't see it reviewed as "real dancehall" either but if it was I can understand how that'd be annoying.

Much more fascinating, however, is this: baby got book

"The ideals and vision of this project is to assimilate leading artists from both genres into a face-to-face environment and create an album that brings experimentalism and accessibility, the world famous and the underground together, ‘live’ in Jamaica. This is a record that has to be made, for musical history’s sake."

now "assimilate" has a pretty icky ring to it in this case. anyway, we're way off-topic here and for the record, i have enjoyed a few things lu cont has done, just not this stuff.

To say that the Mr. Brightside remix annihilated everyone there would be a gross understatement. I was absolutely not the only person jumping and singing like a jackass. I was actually in line to go to the bathroom but BOLTED to the dancefloor when I heard that synth intro.

I am very much a fan of that mix now.

So, my POV would be:

1. 'It's My Life'
2. 'Avalon'
3. 'What You Waiting For?'
4. 'Hey You (What's That Sound?)'
5. 'Four To The Floor'

I'm interested in hearing the Killers mix, and some of the others have their moments. I'd like to hear him in a 4-min pop song environment (outside Zoot Woman anyway). Some good rights and some dull wrongs, but I'm always open to change.

I've come to the conclusion that maybe "Four To The Floor" is his most all-round, um, successful mix, which is odd because at the time of the chart success of the other similar electro remix over here I tried to convince myself I was unfazed by it. Listening back to it now (partially helped by hearing the crappy original), it just seems like such an amazing balance of groove and tears and blustering and just a huge sense of cosmic loneliness.

I feel that way about the 'Breathe On Me' mix - definitely prefer the original there (possibly lack of an extended outro aside). Also, I like my prog sweetened to taste.

I think all the aliases have very very strong moments of success, Paper Faces mix of "Living In A Magazine", and "Gem" are really amazing.

The Felix mix is far and away my favourite of all the remixes and I think the best, but his style has changed since then and maybe I'm inclined to agree with Tim as regards recent stuff/Starsailor.

It is a very persistent track, the Starsailor one, doesn't seem to lose its lustre.

I've only heard "Just Let Go," "Breathe On Me," "Mr. Brightside" and that Bloc Party remix. The first two are brill.

Hey did anyone download that "In Case You Didn't Feel Like Showing Up" mix DJ Xiu put up? The second half was all like this!

I'm gonna write something about Lu Cont I think.

I think the only thing I like I've heard of jlc's so far is his "what you waiting for?" rmx, and then I like tim f's story abt felix da starting off his set with the interminable stefani tick tocks even more.

stevem: only if jlc rmxs it.

For me, anyway. The Killers and Britney ones are good but the Starsailor mix is ruined for me by the vocals.

The Bloc Party remix is Paul Epworth, isn't it?

But if I was, I'd have Jacques Your Body/Sometimes in a top 10.

Also still want to know what the track he opened with in Dublin was, it had a huge Vitalicesque snare drum and a riff that was like something from an Abba song (and may have been) looping over and over, sounded very decadent.

Shouldn't exactly be difficult to find. It's on the b side of the 12 inch.

http://getphysical.blogspot.com/

I am going to see Jacques on Friday, hooray!

He did a lot of work on the new album by Juliet called Random Order.

i'm not sure but it also features on the 1990 remixed version of 'Sucker DJ' by Dimples D if not the original of that so my guess is that it comes from a late 70s funk/disco/early rap band.

a little ironing there given how the Gwen remix reminded some people a little of Electronic's 'Getting Away With It' (NB: reminding of does not necess. mean they sound alike, and indeed they don't)

HYPNOTIC ROBOTIC HYPNOTIC ROBOTIC ROCKYOBODY

CONTROL CONTROL CONTROL CONTROL CONTROL CONTROL CONTROL CONTROL

BTW: spoof of the dancing robot ad

the vocal version is fucking awful, on first listen. the dub must be the one erol and co are playing.

(2 mins later, after toast)the vocal version is actually absolutely dire, it's still playing here, the missy vocal just sounds so so wrong. so I'll see what the dub is like in a few minutes.

(i typed this bit earlier) on a more general level jacques dj sets are really a travesty by now, the guy hasn't bought or even listened to a new record since making the fabric mix.

-- kevin says relax (surl... ), February 13th, 2005.

er right, so some hipsters now like it so what *was* yawnsome and decadent is now a-ok. his horrible jeans are still horribly 80s.

honestly "decadent"! jacques lu cont and his cronies are making the streets of Great Britain a far more dangerous place. Why just last week I saw a gang of tracksuited youths making fun of war veterans while playing Avenue D.

I have been loving the JLC mixes I've heard, including the Missy one, it's not as if the vocal line on "Lose Control" was particularly stunning anyway.

I like the dub alot better than the vocal version, the music is very similar to some of the other mixes but it's still good.

I am not sure he is amazing, but I think he is good.

"decadence" still applies maybe, but it's a different kind of decadence, the decadence of "One More Time" and "Digital Love" - ie. the sonic decisions (and, in the case of retro-isms, sonic quotations) are partially determined and wholly transformed by the emotional content of the music. What decadence there is is a certain emotional over-investment. Of course not all his work is emotional in the specific, soppy sense of the "Mr. Brightside" or "What Ya Waitin' For" remixes, but even stuff like the Juliet or Fischerspooner remixes feel somehow larger than life, unsustainable in their monolithic grandeur.

Whereas the decadence you attribute to LRD would be, if I'm on the same page as you, something rather opposite: an investment in structure and form over and against emotional content - which wouldn't be an issue (this is dance music) if the music wasn't so retro. "Now" sonics in dance music tend to be their own justification, but revivalism seems to make most people (myself included) want to impose the burden of proof on the artist in demonstrating that there was a suffienciently good reason for it.

I like how, to the extent that JLC still does feel 80s-ish (and this is reduced too; his remix of Juliet's "Avalon" is like a weird combination of electro-house production and mid-90s salsa-house), the stylistic quotations in his recent work can be really counter-intuitive and confusing. When I wrote about the "Mr. Brightside" remix on Skykicking I was really struggling to pin-down what his assortment of sighing and twinkling synthesisers were intentionally or unintentionally referencing, if anything: New Order yeah, but also the kind of uses of synthesisers you would expect from exactly the srt of rock bands who fall outside the parameters of electroclash 80s revival - The Cure circa Disintegration, The Chameleons, Tears for Fears, mid-to-late 80s U2, Big Country, Marillion... Actually I'd love to see what Glenn from The War Against Sound would think of it!

the decadence line takes me into autobiog. basically i see LRD as big beat: i liked big beat, but by 1998 was a bit bored with it, mainly because of the preponderance of 'comedy' in, eg, bentley rhythm ace, midfield general, etc. and LRD, who was on wall of sound, ur-big beat label, fitted this pattern. his clothes, his fake-frenchness, his 80sness, were all about the roffles. people laughed because he wanted them to laugh. and electro refs, iirc, were staples of big beat but not generally in dahnce at that point in time.

following daft punk (who i loved), he was kicking off an 80s revival, and 1998 was in some ways the height of the 70s revival (boogie nights, lots of disco-house). so i guess it was refreshing for some people.

but anyway, 'now' sonics don't justify themselves -- it has to rock -- but yeah revivalists really have to bring some serious game. and i suppose back then LRD was like the dahnce jurassic five for me. and, lo, missy has now boosted both -- it's funny cos back then i had J5 and LRD down as 'indie'.

but how do you mean that being dance music exempts you from having to provide "emotional content" -- how, in fact, do you discern this from the actual physical means by which emotional content is produced (ie 'form')?

nb -- somebody somewhere asked where the 'music make you lose control' sample comes from. it's on the tip of my tongue, *and* i think it was on a big beat record, but i'm not so keen on listening to my old big beat records (except for 'not another drugstore' which is awesome).

"Jacques Your Body" and "From Disco To Disco" are house!

Also I don't think Jacques Lu Cont wanted people to laugh at him or was being ironic, this is a guy who actually wasn't allowed to watch the news or listen to the radio until after a nervous breakdown his parents changed their minds, when he was 16 or something.

And Tim didn't say being dance music doesn't mean you have to have emotional content, how can a record not have emotional content anyhow, he did say it doesn't have to be artistic intention number 1, if I'm reading the distinction correctly.

And surely the nature of the artists being remixed is important in each case, as regards context etc.

i didn't know that about him, though i guess it's again about how he was placed, by WoS and the dahnce media; it was received as ironic kitsch, anyway, cos the 80s revival didn't really start till 2000 i suppose.

tim said 'investment in structure and form over and against emotional content' was something dance often did. what i'm saying is that you can only get to the content thru the form (and also that i don't know who maid down that rule abt dance). music *is* form. the content is what 'happens' to you/inside you while you are listening to it.

xp -- again, i don't know any of his post-darkdancer stuff, so dunno. his *refs* (ie sleeve design, 'image, ect) were as 80s as, say, ocean colour scene's were 60s, although his *sounds* may have advanced more than theirs.

I think JLC himself is about as serious a producer as they come, I think at least he's proven as much as anyone that he's doing the style he does out of genuine interest in it, I mean when he ploughs a furrow he really really ploughs it, also he's not fame hungry or, I suspect, image conscious. He is kind of reclusive I think, doesn't drink etc.

In any case, regardless of how he first appeared, this argument that something has elements of irony in it and is therefore null and void has been wheeled out on ILM so many times, mostly re Discovery. I don't believe artists make records for a laugh, not least when the records are very well recieved.

As regards form/content, surely the absence of lyrics in most dance music leaves the content far more open than in other genres? "what happens to you/inside you while you are listening to it" is not dictated on an emotional level so much as a physical one, at least that's the by the book synopses anyway. But loosely accurate.

i never dance to dance music, so for me it has different meanings, which are physical even if i'm not moving -- bear in mind most 60s rock music was devised as dance music. fucking can be emotional; feeling good, emotinally, makes you feel good.

Happens a lot i guess.

I got into LRD with Darkdancer, side tracked onto Zoot Woman ("Jessie" is my favourite) and then onto his mixes.

I discovered Phoenix because Zoot Woman did an excellent remix of Too Young (the original of which has since appeared in Lost in Translation). And whose track "Heatwave" was reworked as a vocal track in the form of DB Boulevard's "Point of View".

My favourites of his recent work:
. The Killers' "Mr Brightside" (TWD Mix)
. Star Sailor "Four to the Floor" (TWD Mix)
. Gwen Stefani "What You Waiting For?" (TWD Mix, esp the Dub)

If anybody has the Dub mix of Mr Brightside could you pleae share? I've not managed to track down his Electric Six mix, either.

My favourites from his old stuff:
. Phoenix's "Too Young" (ZW Mix)
. Cassius' "My Feeling For You" (LRD Mix)
. Mono "Silicone" (LRD Mix)

Other stuff I have not seen mentioned:
. We In Music "Now That The Love Has Gone" (LRD Mix) - awesome
. Akasha "Brown Sugar (LRD Mix)" - a chillout mix
. The video for LRD's "(Hey You) What's That Sound" (sampling Skee-Lo's "I Wish")
http://www.astralwerks.com/lrd/visuals.html
. The first Les Rythmes Digitales album "Liberation" - not my cuppa

Also, see: http://www.discogs.com

Great thread.
matt

What's the best way to keep track of this thread? RSS?

it is so fucking euro! brilliant!

Can YSI the song if anyone wants it.

has anyone heard or got any info on his mix of Royksopp - What Else is There??
pete tong played it on radio 1 last friday after his interview with JLC and its amazing - i ripped it from the listen again feature onto my mp3 player and its been playing none stop since then.
any info welcome thanks

It's a Jacques lu Cont mix and dub, actually. Anyway, no one knows whether SDP are his initials and if so, what the D is for?

That Missy remix alone makes up for 10 other possible wrongs already. Which might be every track on the Madonna album if the singles any indication but fuckit - Les Classique!

JLC brought Madonna along with him to Misshapes in new york at the weekend and they did DJed together! Pretty cool methinks. Lets hope the album is as good as the rave reviews its been getting...

http://www.misshapes.com/pages/photoDetail.php?d=10-22-05&id=270&c=300

:)

but the popjustice one is better

This is beautiful! How does he keep doing it?

My iPod playlist of his remixes is my favourite imaginary album of the year.

It's a shame the remix compilation album that was mentioned by Astralwerks has not come to fruitition yet. There's probably licensing issues...

There's a thread on Dissensus at the moment about (among other things) whether there's any formal innovation left in dance music, and I've been arguing precisely the above as being JLC's "formal innovation' - my argument probably won't be accepted but I passionately believe it. The synths may not be groundbreaking in some scientific sense, but the whole thing hangs together in a way that I can't imagine anyone but JLC doing. It's fitting that it's this song too - this remix is the most winsome, romantic piece of dance music since the Rex the Dog remix of "Heartbeats".

I've also been overdosing on his remix of "The Conductor" lately.

I wonder can I play this and the Trentemoller one on Thursday, decisions decisions, not right after each other of course!

I did a CD of these, and yes, yes it is. (And I haven't even heard the Royksopp one.)

Brown Sugar (Les Rythmes Digitales Mix) Akasha
Sex And Sun Part 1 (Thin White Duke Remix) Aloud
Eurodisco (Les Rythmes Digitales Mix) Bis
Feeling For You (Les Rythmes Digitales-Dreamix / Short Remix) Cassius
Is It Love (Les Rythmes Digitales Remix) Chili Hifly
Sleep On the Left Side (Les Rythmes Digitales Mix) Cornershop
My Beatbox (Les Rythmes Digitales Remix) Deejay Punk Roc
Disco Dancing Machines (Les Rythmes Digitales Remix) Dirty Beatniks
Payback Time (Jacques Lu Cont's TWD Mix Edit) The Dysfunctional Psychedelic Waltons
Payback Time (Jacques Lu Cont's Thin White Duke Mix) The Dysfunctional Psychedelic Waltons
Death Disco (Les Rythmes Digitales Remix) E-Klektik
Maracana Madness (Zoot Woman Mix) E-Klektik
Danger! High Voltage (Thin White Duke Remix) Electric Six
The Conductor (Thin White Duke Remix) The Faint
Ready To Wear (Paper Faces Mix) Felix Da Housecat
Silver Screen Shower Scene (Jacques Lu Cont Remix) Felix Da Housecat
Just Let Go (Jacques Lu Cont's Thin White Duke Mix) Fischerspooner
Twist (Jacques Lu Cont's Conversion Perversion Mix) Goldfrapp
What You Waiting For (Jacques Lu Cont's Thin White Duke Dub) Gwen Stefani
What You Waiting For (Jacques Lu Cont's Thin White Duke Mix) Gwen Stefani
What You Waiting For (Jacques Lu Cont's Thin White Duke Short Version) Gwen Stefani
Avalon (Jacques Lu Cont Versus Remix Radio Edit) Juliet
Avalon (Jacques Lu Cont Versus Remix) Juliet Remix
Mr. Brightside (Jacques Lu Cont's Thin White Duke Mix) The Killers
Mr. Brightside (Jacques Lu Cont's Thin White Duke Short Version) The Killers
Nothing to Declare (Les Rythmes Digitales Mix) Laptop
Sometimes (Zoot Woman Mix) Les Rythmes Digitales
Hollywood (Jacques Lu Cont's Thin White Duck Mix) Madonna
Hung Up (SDP's Extended Dub) Madonna
Phatty's Lunchbox (Les Rythmes Digitales Remix) Mekon
Naive Song (Les Rythmes Digitales Remix) Mirwais
Miss You (Thin White Duke Remix) Mirwais ft. Craig Wedren
Lose Control (Jacques Lu Cont Dub) Missy Elliott
Silicone (Les Rythmes Digitales Remix) Mono
It's My Life (Jacques Lu Cont's Thin White Duke Mix) No Doubt
Too Young (Zoot Woman Remix) Phoenix
Pure Morning (Les Rythmes Digitales Remix) Placebo
Comfortably Numb (Paper Faces Mix) Scissor Sisters
Laura (Paper Faces Remix) Scissor Sisters
Filthy Gorgeous (Paper Faces Vocal Mix) Scissor Sisters
Four to the Floor (Jacques Lu Cont's Thin White Duke Remix) Starsailor
Gold Is Your Metal (Paper Faces Remix) Themroc
Now That The Love Has Gone (Les Rythmes Digitales Mix) We In Music
Living In A Magazine (Paper Faces Remix) Zoot Woman

1. Electric Six - Danger! High Voltage
2. Goldfrapp - Twist
3. Fischerspooner - Just Let Go
4. Missy Elliott ft Ciara - Lose Control
5. Two Culture Clash ft Ce'Cile & General Degree - Na Na Na Na
6. Whirlpool Productions - From: Disco To: Disco
7. Gwen Stefani - What You Waiting For?
8. Madonna - Hollywood
9. Britney Spears - Breathe On Me
10. Juliet - Avalon
11. The Killers - Mr Brightside

(i made it before 'hung up' leaked)

I left New Order off because I couldn't find a non-radio rip.

The Faint - The Conductor (Thin White Duke Mix)
The Killers - Mr. Brightside (Thin White Duke Mix)
Starsailor - Four to the Floor (Thin White Duke Mix)
Juliet - Avalon (Jacques Lu Cont Mix)
Missy Elliot - Lose Control (Jacques Lu Cont Mix)
Gwen Stefani - What Ya Waitin' For (Thin White Duke Dub)
Zoot Woman - Grey Day (Paper Faces Mix)
Britney Spears - Breathe On Me (Jacques Lu Cont Mix)
Felix Da Housecat - Ready 2 Wear (Paper Faces Mix)
Goldfrapp - Twist (Jacques Lu Cont Mix)
Madonna - Hollywood (Thin White Duke Mix)
Scissor Sisters - Comfortably Numb (Paper Faces Mix)
Electric Six - Danger! High Voltage! (Thin White Due Mix)
Fischerspooner - Just Let Go (Thin White Duke Mix)

What You Waiting For (Jacques Lu Cont's Thin White Duke Dub)
http://www.megaupload.com/?d=M3XKMC7N

Am I missing any other than New Order and Britney? ;)

I have to say the remixes just keep getting better. Röyksopp being the most recent, at about 5:25 in that I start grinning like a fool - the man is one fire! Can't wait for the Madonna album myself.

Here's my list of influences I've spotted on there, whether they be sounds, lyrics or melodies:

Kylie, Donna Summer, The Beatles, Daft Punk, Kraftwerk, Yazoo, Fleetwood Mac, Lisa Marie, Royksopp, Todd Terry, The Nightcrawlers and The Police.

Any others? ;)

I know - I need to get out more!

"Sorry" = Azul y Negro "The Night"
"Hung Up" = NY Models "Love on Video"

I don't think the production on "Get Together" is so much influenced by The Streets as it is "Music Sounds Better..." which has "Holiday" as it's influence, but whatever.

by the way it seems to me that he is growing into or exposing his "uber producer" side if that makes any sense. What with trancey type tracks like Madonna - Get Together, & also his remix of Juliet - Ride the Pain. Some of his newer stuff seems to be a bit more, duno whats the word? thats why i used uber. But then you here stuff like I Love NY & Sorry from the M album and you realise hes not changed, just showing different areas of his multi-talented-ness! I repeat, the man is a legend.

You can hear both tracks on my radio show from last night (RealAudio, "uur 1").

Jacques Lu Cont Remixes

1998 Placebo - Pure Morning (Les Rythmes Digitales Remix)
1999 Orbital - Nothing Left (Les Rhythmes Digitales Remix)
1999 Les Rythmes Digitales – Sometimes (Zoot Woman Remix)
1999 Les Rythmes Digitales - (Hey You) Whats That Sound (Les Rythmes Digitales Remix)
1999 Les Rythmes Digitales - Music Makes You Loose Control (Les Rythmes Digitales Remix)
2000 Chili Hi Fly - Is It Love? (Les Rythmes Digitales Remix)
2000 Phoenix – Too Young (Zoot Woman Remix)
2001 Zoot Woman - It's Automatic (Paper Faces Mix)
2001 We In Music - Now That Love Has Gone (Remix By Les Rythmes Digitales)
2002 Felix Da Housecat - Silver Screen Shower Scene (Jacques Lu Cont Remix)
2003 Mirwais - Miss You (Thin White Duke Mix)
2003 Madonna - Hollywood (Jacques Lu Cont's Thin White Duck Mix)
2003 The Dysfunctional Psychedelic Waltons - Payback Time (Jacques Lu Cont's TWD Mix)
2003 Goldfrapp - Twist (Conversion Perversion Mix)
2003 No Doubt – It’s My Life (Jacques Lu Cont Mix)
2003 The Faint - The Conductor (Thin White Duke's Remix)
2003 Scissor Sisters - Comfortably Numb (Paper Faces Mix)
2003 Zoot Woman – Grey Day (Paper Faces Mix)
2003 Ralph Myerz & The Jack Herren Band – Casino (Zoot Woman Remix)
2004 Starsailor - Four To The Floor (Thin White Duke Mix)
2004 Aloud - Sex & Sun (Thin White Duke Remix)
2004 Gwen Stefani - What You Waiting For? (Jacques Lu Cont's TWD Mix)
2004 Scissor Sisters - Laura (Paper Faces Remix)
2004 Zoot Woman - Gem (Paper Faces' Remix)
2004 Britney Spears – Breathe On Me (Jacques Lu Cont Mix)
2005 The Killers – Mr Brightside (Jacques Lu Cont’s TWD Mix)
2005 The Music – Bleed From Within (Jacques Lu Cont’s TWD Mix)
2005 Juliet – Avalon (Jacques Lu Cont’s TWD Mix)
2005 Fischerspooner – Just Let Go (Jacques Lu Cont’s TWD Mix)
2005 Scissor Sisters – Filthy / Gorgeous (Paper Faces Remix)
2005 Felix Da Housecat – Ready 2 Wear (Paper Faces Mix)
2005 New Order – Jetstream (Jacques Lu Cont Mix)
2005 Juliet – Ride The Pain (Jacques Lu Cont Mix)
2005 Missy Elliott – Lose Control (Jacques Lu Cont Mix)
2005 Royksopp - What Else Is There (Jacques Lu Cont Edit)
2005 Madonna - Hung up (SDP Extended Remix Dub)

(I also took alot of drugs listening to "Capital Rocka" in 2002)

you are the rock Medicine?

still the best.

where are Medicine 8?! i really love their production.

I don't know where they are! But Discogs tell me they record as "We Are" too, and I know Erol and co have been playing some tune by "We Are" recently.

Any news on any of his new remixes or anything? looking forward to something new. Hope he remixes madonnas new single Sorry! I heard the Pet Shop Boys, of all people, have done a remix but that's about it so far. oh and apparently tim westwood is rumoured to make a cameo appearance in the promo video. (????)

Madonna - Sorry (Man With Guitar mix)
Madonna - Let it Will Be (Paper Faces mix)

nice to see the man with guitar name getting used again. heard him play his "Let it will be" remix a few weeks back and it sounded great. roll on february!

last night pete tong played his remix of Madonna - Sorry & an exclusive premier of his remix of Coldplay - Talk

Listen to the show here:
http://www.bbc.co.uk/radio1/dance/petetong/tracklistingsarchive.shtml

both mixes sound amazing
ps - why am i the only one posting on here lately? hehe

Was Tranquilizer the one that went "let us be happy while we're still young?" JLC could loop that bit again and again and build it up with fuzzy So Much Love To Give synths and OMG OMG OMG!

Puressence - "This Feeling" would also go down a treat.

"I get this feeling/I get this feeling/tumbling around around around around around around around around around around around around..."

Mind you now I'm just listing all my very favourite indie guilt pleasures.

"Shine the headlight/straight into my eyes!"

IIRC we also mangled our brains trying to work out how the JLC Paranoid Android mix would sound.

I was thinking the exact same thing about that Coldplay tune, ie their best thing in ages. We are all melody suckers!

AND - surely we all know Coldplay's Talk lifts the riff and melody from Kraftwerk's Computer Love don't we? They even got permission to do so!

Joyously, the Kraftwerk is all present and correct in the remix.

Matt, you were aware that Oakenfold remixed Wide Open Space?

i don't want to hear the jlc coldplay mix as i think 'talk' is fucking disgusting. melody is good but not on horrible widescreen stadium guitar!

i think jlc should stay very firmly away from the bad indie. AS SHOULD YOU ALL.

i haven't heard his new remix of morten gamst pedersen yet, but i'm anticipating good things from it

lex his crowning moment involved tearing the shit out of that awful starsailor track, he should go near MORE indie as long as he's going to do a similar job.

"Placebo - Teenage Angst would work as well, if he expunged Brian Molko altogether and just filtered the guitar riff. "

Ha ha! Yes it was the guitar riff I was primarily thinking of.

Anyone who gets hold of the coldplay or either of the 2 madonna mixes in decent full length quality then please email me!

This coldplay mix is really really special - been on loop on my player since tong played it on friday night!

the trouble with that starsailor mix is that he doesn't treat the vocals enough - everything is perfect apart from the starsailor bloke's awful portentous whine (and ugh the lyrics). however, if he can do to 'talk' what he did to 'mr brightside'...

Also CLEARLY the indie band JLC needs to be working with is Snow Patrol.

"Hey wait, my vocals aren't anywhere on the album!"

"There there, Brandon, you go and play with your drugs."

I really should hear the "Talk" remix if you promise me that Chris Martin is not on it, nothing of the original song is on it, and in fact the original band had nothing to do with it at all.

still waiting to properly hear his paper faces remix of madge's "let it will be"

Why is he working ONLY with godawful vocalists?? Thank god Oasis or The Stereophonics are too hetero-real-music obsessed to ask for b-side fodder from him!

YES! Although the Perfecto mix on the single might be close enough.

Can I buy it as an mp3 anywhere? I'd even settle for m4a, so long as I can listen to it on my iPod.

I think Lex needs his indie-hate, I don't want to take it away from him, and dissensus of course need their hate of anything pronounced middlebrow - but of course these sorts of broad-brush rejections of entire swathes of music are quite removed from how I think music mostly actually works. What is it about a Coldplay or The Killers song which makes it automatically bad? More specifically, is it a foregone conclusion that the (yes, mostly quite cloying) vocals on Starsailor songs will sound awful in every setting and context imaginable?

I was watching this multi-part documentary last night called "Race: the Power of an Illusion", and the episode was focusing on the issue of the links between genes/DNA and racial characteristics (actual or presumed). This scientist was talking about how it's entirely erroneous to talk about the "gene for sports" or the "gene for music", when most human physical characteristics and certainly soemthing as subtle as a talent or aptitude are created by the infinitely complex interaction of genes - with eachother, and then with the environment as well. A corollary of this point is the fact that there is no "race" wherein every member will have one particular type of gene which is not shared by member of others races.

And it struck me that you could easily do a series on music called "Style: The Power of an Illusion"

If most people wer in his position I'm betting they'd likely fall into a downward spiral not knowing what to do with the rest of their lives. Yet Stuart gets out of bed and creates this Coldplay remix just for the hell of it. What a guy! I can imagine him dancing round his bedroom studio thinking "Ha! I've done it again!"

and does anyone know what that little tune is - right at the very very end of the mix? i'm sure its off some old cartoon or something like that (???)

but the punchline to my indie hate is that i like some indie when it's good! but the bits which i have kneejerk reactions to aren't really v big swathes of music - all this coldplay killers franz ferdinand futureheads nonsense basically belongs to a pretty narrow genre of indie.

What is it about a Coldplay or The Killers song which makes it automatically bad?

a) vocals
b) lyrics
c) arrangement

More specifically, is it a foregone conclusion that the (yes, mostly quite cloying) vocals on Starsailor songs will sound awful in every setting and context imaginable?

starsailor is an extreme example to which i would answer YES, but there are some indie voices which can be redeemed, like on the killers remix. i'm not sure whether chris martin's can be, though am prepared to give it the benefit of the doubt until i've heard it.

if jlc must remix indie, i think joanna newsom's voice and melodies would be fucking awesome in an electro setting. also ariel pink!

MY FRIEND. (Though the lyrics is bottom of the list for me.)

Hey, that would be inspired...

a) vocals
b) lyrics
c) arrangement

this is an INDIE answer in that it overemphasizes the two least important elements of the songs and somehow manages to entirely miss out one of the most important: the song itself!

:-o

What I'm trying to get at is that there is no root cause for these groups being unlikeable (and I agree that they are often are, more so in Coldplay's case), what we've got is a set of variable causes and symptoms that can be tweaked to produce different effects. (I think you've already impliedly agreed with me on this point though)

In a strange way I think it's important that JLC does do this sort of sow's ear to silk purse surgical transformation work because it demonstrates a... what? "Lost potentiality in indie" sounds too melodramatic, but it does point out that this stuff is not beyond saving, that it could still be interesting if better choices were being made by the original artists.

For a while I've been thinking that what I used to call the "MOR-indie cancer" was basically the act of divorcing of anti-masculine indie guitar rock from many of its previous habitual signifiers - the camp, the fey, the gothic, the ethereal, the truly androgynous, the child-like, the mystical. A fusion of late-90s Manic Street Preachers with Jeff Buckley at his most conservative. This Is My Truth Tell Me Yours remains one of the most dramatic examples of the early spread of MOR-indie cancer, but perhaps in truth the seeds were sown in the pub-rock-with-Mike-Hedges-production of Everything Must Go, an album I liked a lot at the time (significantly, perhaps, I tried to work out which song from this album JLC could remix and I don't think any of them would suit - the vocals are actually much less suitable than Starsailor's... although perhaps that's impossible to know in advance of the finished product?)

But it all came to fruition with Travis's "Why Does It Always Rain On Me", a song I hated with a passionate fervour 5-6 years ago, precisely because it seemed like a deliberate disavowal of all the qualities (listed above) I enjoyed in superficially quite similar previous indie - and the sense of the finality of its severance can be seen in comparison to the more likeable "Writing To Reach You" which preceded it.

But indie rock is weakened by such things rather than lost irretrievably - maybe what some of us like about Coldplay's most U2-like efforts ("Clocks", "Talk") is how they perhaps inadvertantly reimagine links back to a different type of anti-masculine indie guitar-rock, where sound and melody triumph over "the song", or where different sorts of songs are valued (it's faint though, almost like a memory of a dream about something).

What JLC does on his most songful remixes - apart from contributing these awesome monolithic grooves - is to recreate as many links to outside signifiers as possible. So the "Four To The Floor" remix takes the original stodgily dramatic string-swept torpor and transforms it into future-goth splendour (the portentous opening synths remind me of some of the music in A Clockwork Orange, I think maybe the scene where Alex is demonstrating his reprogramming by trying and failing to touch a woman's breasts) - simultaneously fey, camp, gothic, ethereal, androgynous, childlike...

The difference in order of success b/w that track and his remix of "Mr. Brightside" (not nearly as effective as a dance track) is perhaps simply that where the former is clearly sow's ear to silk purse, with the latter you start to doubt whethere the original ever really was a sow's ear (and I think it mostly actually is), so subtle and yet so dramatic is the revamping, so massive and yet so natural this outward expansion of the song's limits.

Funnily enough I simply can't agree with the idea of JLC remixing Newsom or Ariel Pink, the idea actually turns me off massively, and it's not that I dislike the artists in question (Ariel Pink though, especially... his songs are so frail that I don't think anything of them would survive the JLC treatment - why bother at all?).

perhaps in truth the seeds were sown in the pub-rock-with-Mike-Hedges-production of Everything Must Go, an album I liked a lot at the time (significantly, perhaps, I tried to work out which song from this album JLC could remix and I don't think any of them would suit - the vocals are actually much less suitable than Starsailor's... although perhaps that's impossible to know in advance of the finished product?)

iirc the chemical bros mix of 'everthing must go' was ok (sort of previewed *their* move towards relentless grooves...) but the jon carter of 'kevin carter', not so much.

x-post it also has the cynicism of indie posturing by the bagful

I can definitely agree re The Killers because, well, it's been proven - without a great deal of actual tweaking all the original constituent parts suddenly became magnificent rather than stodgy. But I think certain indie bands ARE at root unlikeable, Starsailor being one of them, and then mainly because of that awful voice - however while I think JLC's 'Four To The Floor' remix didn't quite succeed I can still see how and why it might have done.

But assuming that the vocals etc are the symptoms rather than the cause, doesn't this mean that no music is unsalvageable? (I'd say that the cause of the dreadful vocals and lyrics is these indie band's fundamental outlook on life which can be easily changed!) And hence the lost potentiality isn't really an indie-specific thing (unless you mean that it's their friendliness with melody which makes them so salvageable for JLC - I doubt he could redeem some of Coldplay's more insubstantial pieces).

this stuff is not beyond saving, that it could still be interesting if better choices were being made by the original artists.

But isn't the cause of their unlikeability the fact that the original artists are not the sort of people who would ever make the choices you're talking about?

the camp, the fey, the gothic, the ethereal, the truly androgynous, the child-like, the mystical.

Haha this is otm - the indie artists who spring to mind who have retained these qualities are Newsom and Pink though! Maybe this is why you feel they don't need rescuing by JLC or similar? I think 'Immune To Emotion' and 'Oblivious Peninsula' are strong and propulsive enough to be successful remix choices - as for Newsom I listened to as much of her as I could bear last night and it's not JLC who should remix her, it's Tiefschwarz or Black Strobe or Trentemoller, someone who can counteract her twee with super-fucked-up techno sounds.

(Ronan I can understand anyone who hates J Newsom - I like her in small doses - but she is surely preferable than Coldplay/Killers/Arctic Twats guitar boringness!)

(significantly, perhaps, I tried to work out which song from this album JLC could remix and I don't think any of them would suit - the vocals are actually much less suitable than Starsailor's... although perhaps that's impossible to know in advance of the finished product?)

I can only remember 'A Design For Life' which I can't imagine as a JLC remix - oh hang on maybe 'The Everlasting'? It's definitely potentially epic. Although I think a JLC Jeff Buckley remix would be ACE - Buckley can at root hold notes without sounding punchable, the trouble would be finding a Buckley song with enough melody to carry a remix.

But indie rock is weakened by such things rather than lost irretrievably - maybe what some of us like about Coldplay's most U2-like efforts ("Clocks", "Talk") is how they perhaps inadvertantly reimagine links back to a different type of anti-masculine indie guitar-rock, where sound and melody triumph over "the song", or where different sorts of songs are valued (it's faint though, almost like a memory of a dream about something).

It's a different kind of anti-masculinity for me - wet and soppy and pathetic rather than androgynous. In fact I find it very anti-androgynous - Coldplay et al are very definitely hetero and masculine, just that faintly embarrassing 'sensitive' masculinity which Fucking Nick Hornby appears to have made acceptable over the last decade. It's all very I-don't-understand-girls rather than maybe-I-am-a-girl.

The difference in order of success b/w that track and his remix of "Mr. Brightside" (not nearly as effective as a dance track) is perhaps simply that where the former is clearly sow's ear to silk purse, with the latter you start to doubt whethere the original ever really was a sow's ear (and I think it mostly actually is), so subtle and yet so dramatic is the revamping, so massive and yet so natural this outward expansion of the song's limits.

yes! All is made clear when you actually listen to the original though, as when I asked a DJing friend to play 'Mr Brightside' assuming she would play the JLC remix and she played the original :(

The ultimate silk/sow JLC remix is What Ya Waiting For, in that it removes almost all traces of Gwen Stefani and for that matter the original and just loops the four good bars again and again and makes them sound sublime. Whereas conversely its Richard X who succeeds in doing to Cool what JLC does to Mr Brightside - coax out the essential quality of the tune that original arrangement is too clumsy to achieve.

"it has things like peaks, troughs, tension and release, and sonic texture, not this relentless driving thing jlc goes for"

If anything I'd see it as the reverse - JLC invents peaks and troughs that weren't there in the original, and the pomp-eighties keyboard sound interests me more than the Killers standard (if pleasant) guitar attack. Also I think it's one of JLC's least "relentless driving" remixes ever!

"But isn't the cause of their unlikeability the fact that the original artists are not the sort of people who would ever make the choices you're talking about?"

Lex, perhaps not, I don't know! I don't know a single thing about the Starsailor guy and have no desire to. I think your "outlook on life" cause'n'effect argument is tenuous though, I'm not sure why a particular outlook on life necessarily leads to certain musical choices, and these seem like very ad hominem observations which are hard to ground in the music. The "outlook on life" which a particular indie song or band conveys strikes me as being another "symptom" (my point is that it's all symptoms). And yes, that does mean that in theory there is no music beyond saving - however the profusion of particularly virulent and unpleasant symptoms would place many songs beyond the realistic possibility of sonic redemption.

"It's a different kind of anti-masculinity for me - wet and soppy and pathetic rather than androgynous. In fact I find it very anti-androgynous - Coldplay et al are very definitely hetero and masculine, just that faintly embarrassing 'sensitive' masculinity which Fucking Nick Hornby appears to have made acceptable over the last decade. It's all very I-don't-understand-girls rather than maybe-I-am-a-girl."

Yes well if it wasn't clear I was saying this is exactly the type of anti-masculine rock music that most of Coldplay's music (and Travis and Starsailor etc.) aspires to, and that occasionally - only occasionally - one hears hints of an alternative path they might have taken. Lex you probably don't know how well I understand you on this point, some of my earliest posts on Skykicking almost 6 years ago were incensed rants against Travis for this very thing!

"Haha this is otm - the indie artists who spring to mind who have retained these qualities are Newsom and Pink though! Maybe this is why you feel they don't need rescuing by JLC or similar?"

Actually I think this might be right. I just feel like part of JLC's modus operandi is to attack the self-contained substantiality of the conventional rock-or-pop song - to take a song which is secure in but also limited by its own sense of comfortable self-identity, and to make it bigger but also more ambiguous. Whereas by contrast the very insubstantiality of Newsom or Pink - the fact that they seem to be nothing but the implication of those signifiers I listed - means that he has nowhere to take them, other than make some unrelated dance track with snippets of their vocals arbitrarily weaved through it.

Re Madonna - utterly OTM.

Matt you are sadly wrong about "Cool", which is much better in its original form than in Richard X's (though I do like the latter). In my head I can hear a Richard X remix of "Cool" that is closer to his Freeform Five remix, and ends up sounding like Future Bible Heroes' "Real Summer".

Re the Madonna album - I think any failings it has are down to the fact that Madonna didn't really bother to write any particularly strong songs other than 'Hung Up', some of the production ('Push', 'Let It Will Be' and 'I Love New York' especially) is just immense, so immense that the lack of actual songs doesn't even seem like a failing.

I think your "outlook on life" cause'n'effect argument is tenuous though, I'm not sure why a particular outlook on life necessarily leads to certain musical choices, and these seem like very ad hominem observations which are hard to ground in the music. The "outlook on life" which a particular indie song or band conveys strikes me as being another "symptom" (my point is that it's all symptoms).

I should have written 'outlook on music': at the root of the musical choices bands like The Killers and Starsailor make is a very fundamental perception on What Proper Music Is and How It Should Be Made and Who Should Make It - these indie bloke types can often be found spouting off at length about these things in interviews, the one who springs to mind is him out of Stereophonics (aha! aha! now if anyone is beyond redemption it is THEM! I challenge anyone to find any way in which any Stereophonics song could be made great without every trace of the original being removed from it!).

And yes, that does mean that in theory there is no music beyond saving - however the profusion of particularly virulent and unpleasant symptoms would place many songs beyond the realistic possibility of sonic redemption.

For me, in many cases, this would be the vocals.

Actually I think this might be right. I just feel like part of JLC's modus operandi is to attack the self-contained substantiality of the conventional rock-or-pop song - to take a song which is secure in but also limited by its own sense of comfortable self-identity, and to make it bigger but also more ambiguous.

Yes, this makes a lot of sense - of all the electrohouse remixers JLC is probably the only one who'll retain many elements of the song's original structure, its verse-chorus-verse, where others would take vocal and instrumental fragments only. And yes, while I think some Newsom and Pink songs would be strong enough to withstand the JLC treatment they're not as traditionally songful as what JLC usually works with...which makes the un-songful Confessions On A Dance Floor something of an anomaly, and weird to listen to, because unlike the remixes where the song came first it's very obvious that the production came first.

My favourite JLC moments are the ones where he has diva vocals to work with - he's very good at magnifying both the longingness and world-filling ego in them: Juliet, Gwen, Madonna, Britney, Ciara. In fact I think he should do a remix of 'You Got The Love' asap.

And Madonna ruins that album by saving some of her ugliest singing ever for it and covering some great backing tracks with the most graceless & stilted delivery I've heard since er... M.I.A. (need other reference points!... oh fuck it, it'll do).

they won a few people back last year with 'Dakota'. not quite me though. was there a 'Dakota' remix? I imagine JLC could work his formula very well on that.

Ha ha I was discussing precisely this point with my friend Catherine last night! The Madonna songs sound more like dance tracks with sampled vocals than JLC's remixes do!

"oh let us not speak of the 'Dakota' debacle, I blame racistjustice entirely for it! that song was NO BETTER than the usual dreadfulness. "

Oh no I liked "Dakota", am I racist?

as for new music (!!!) I've just noticed that Annie Mac played something potentially very interesting earlier on tonight:

Armand Van Helden - Sugar (Paper Faces Remix)

not heard it yet as i missed the show but we can all use the listen again feature to check it out. will listen tomorrow on my lunch break.

go here for the tracklistings of her radio show:
http://www.bbc.co.uk/radio1/dance/anniemac/tracklistings.shtml
(also check out the Aquasky mini-mix - theres like 150 tracks in 5 minutes!)

as far as i'm aware theres now (excluding the coldplay mix) 3 new JLC mixes to look forward to:

Madonna - Let It Will Be (Paper Faces Remix)
Madonna - Sorry (Man With Guitar Remix)
Armand Van Helden - Sugar (Paper Faces Remix)

You have no idea. Live out here for a while and find your tune changing.

...and the JLC remixes of them will probably sound more like proper songs! The bizarre thing is how little it matters when you're listening.

Oh no I liked "Dakota", am I racist?

no, just wrong! (racistjustice is still racist though.) Tim this is the first time our tastes have diverged :(

its like standing in front of a jetliner as it takes off

this is what trance should have been

lu cont is a genius. he just painted his masterpiece

The Coldplay remix, like the Starsailor one, would be incredible if it didn't have those unbearable vocals left on.

this is what trance should have been

lu cont is a genius. he just painted his masterpiece
There's a similar bit in the Royksopp remix with a couple of minutes to go. Shivers down my spine every time.

no, it would be just another dance track. lu cont's skill with vocals is what sets him apart. he's epic, coldplay's epic, he redeems them musically, they fit each other perfectly.

If anything I'd see it as the reverse - JLC invents peaks and troughs that weren't there in the original, and the pomp-eighties keyboard sound interests me more than the Killers standard (if pleasant) guitar attack. Also I think it's one of JLC's least "relentless driving" remixes ever!

what i mean by texture is, i suppose, juxtaposition of textures whci the original has and jlc does not -- the '80s keyboards are in there, with the guitars, i don't think you've actually heard it tbh! and as someone else mentioned somewhere, the vocal line just *doesn't work* in the remix because of jlc's smoothing out of the peaks 'n' troughs. i'm w. steve on this i think.

but apparently that's big beat guilt for you and the fact i'm underwhelmed by jlc (and i've made an effort, honest miss) is just an index of how i don;t get the bigger picture, i think.

OMG!

The vocals sound so boring on the original! So much more interesting and nuanced on the remix! JLC even manages to give the repeated sole verse entirely different meanings by varying the musical backing! Now I wonder if you've heard the right remix (as I understand it there's a shorter and inferior version of it). Maybe we'll just have to agree to disagree.

About the Killers remixes, four versions are around:

TWD Mix (the well-known one)
TWD Dub (the "other" one)
TWD Short Version (an shortened edit of the Mix)
TWD Short Version With Intro (as above + the synthy intro from the long Mix)

Any ideas where I can find them? I read about halfway down this thred looking for a link for them and, having not found one, just got damn bored! so if anyone can help i'd be really grateful!!

nice one!

what is a less good idea, but, it came into my head this morning on the bus, and, really, i dont want to have to bear this alone, but

i sort of imagined, in my head

a thomas bangalter remix of

that james blunt song, youre beautiful

i mean, you know how it would go, right?

im sorry about this

Tim makes the claim that the remix is actually a trance track. I want to hear more about this - Tim Finney to thread!

The thing that sets it apart is the BIG DRUMS, which I swear are louder than any other JLC remix.

I guess where this differs slightly from the pop-trance that was big circa 6/7 years ago (and its off-spring still lurking on Nova playlists today) is that that stuff was mostly very straightforwardly riffish, very much music that could easily be reproduced as ringtones (I'm thinking Alice Deejay's "Better Off Alone", although mentioning that track is unfair b/c it was basically the worst that pop-trance of that era had to offer). Whereas as you'd expect from a JLC remix this is more about the overall atmospheric juggernaut. But those cool synth melodies are totally trance, as are all the build-ups and breakdowns. And the wispy meaningless female vox sample. And its general vibe of serious euro austerity. My favourite thing about it though is that little oriental riff in the second-half, and then it all comes back so HEAVY.

Matt's right about the drums... and about the strange omnipresence of trance affectations at the moment. Catherine I will have to put Booka Shade's "In White Room" onto a CD for you. The Tiga "Out of the Trance Closet" remix of LCD Soundsystem's "Tribulations" is relevant too.

"i love new york (thin white duke remix)"
cant wait for this one as the original album version sounds itself like a poppy Thin White Duke mix

& "get together (jacques lu cont remix)"
which could also be quite tasty

http://www.megaupload.com/fr/?d=OO293M4Q

Enjoy !

I'm thinking that the supposed Astralwerks remix compilation (if compiled wisely) would probably be the best "Greatest Hits"-style collection ever.

(And I already thought it was pretty large-scale)

I take it his remix of Depeche Mode's 'A Pain That I'm Used To' is not noteworthy then?

haha

Oh dear. 'Let It Will Be (Paper Faces Remix) - Madonna' ... it's horribly distorted. :( And this is from the CD ! What is going on with the audio industry these days ? Have they all been replaced by chimps ?

Proof that record companies don't listen to their output. They're only interested in the damn money.

How can something like this get to release stage ? I'm disgusted. The irony for me is that I bet I could find a better version of this track by illegal downloading .. probably.

Note to all audio engineers : digital clipping is BAD. NO-ONE WANTS IT. Analogue distortion CAN sometimes be good. Remember your training !

Thanks all.

Chenz.

No, hes produced Madonna's confessions 2006 world tour & hes currently on that with her. thought everyone knew that!

As far as remixings concerned hes probably not up to much at the moment although he BADLY needs to do a remix of the new Muse single "Starlight" out in a month or two... Check it out if you havent already.

Oh and some girl he knows called Bee Hatherley has temporarily replaced him in Zoot Woman whilst he's on tour with Madge...

Many thanks JLC fans :)

All these Scissor Sisters remixes (Adam & him have done a Paper Faces mix of every Sisters single bar 'Take Your Mama' - oh and plus the production he did on that new order/ana matronic collaboration)makes me wonder whether hes had a hand in producing their upcoming album...

/troll

3) When You Were Young (Jacque Lu Cont's Thin White Duke Dub)

It has to be noted that this dry patch whilst hes been on tour with Madge has been filled in quite nicely so to speak by what I'd consider to be the rest of the 'amazing remixers' elite; namely Paul Epworth aka "Phones", Switch/Solid Groove, MSTRKRFT, Alan Braxe & Fred Falke, Digitalism, The DFA, & quite a few others...

Check out Alan Braxe & Fred Falke's new remixes of 'Van She - Kelly' and 'Keith - Mona Lisa's Child'

Great stuff!

Somewhat confusingly, Price seems to always go down a different route on his dub.. Compare the Killers Brightside & Depeche Mode dubs to the New Order Jetstream dub. Worlds apart.

The only common factor seems to be the chord arrangement which is usually more tonic and repetitive than his original remix. I've never really understood Dub remixes in the 'dance' world though, so perhaps I'm missing something. Dub to me means letting the instrumentation shine & adding some cut up word bitz via the echo chamber...

Jesus Christ though; either Madonna's given him his own mobile studio or he has the most pimped out laptop on the planet. Much respect to the man Lu Cont for coming up with the goods, even when he's on tour with Mrs Macrobiotic Veronica Ashtanga Ciccone-Ritchie 5 nights a week.

LRD, Zoot Woman, and 'Jacques Lu Cont the man who rocks Fabric' are calling his name. He is such a good solo performer, bass player, and DJ that it's only a matter of time before he responds

"calvin harris" persona is a bit of a step backwards

JOEK

Harris uses an Amiga computer and OctaMED tracker software to make some of his music.

makin it harder to dislike him...

oh, this is him?

i liked "acceptable in the 80s"

no they are not the same person but presumably Harris discovered 'Darkdancer' a couple of years back and figured it might actually work now chart wise.

Tip: listen to the Angello & Ingrosso remix of Justin Timberlake "My Love" and tell me it's not JLC.

I got momentarily scared by the suggestion that Calvin Harris is JLC. It's nice that "Acceptable in the 80s" jacks Madonna rather than other 80s but that's the only nice thing about it and "The Greatest Hit" did that idea better.

Just a quick heads up that you know who has produced the new Seal album, out November 13th. Single out now - not sure what I think of it just yet.

http://www.earthtimes.org/articles/show/news_press_release,164549.shtml

Good Lord.

Not sure how I feel about his remix of D.A.N.C.E - sounds like a match made in heaven but it goes a bit wrong after the first couple of minutes. He's discovered the scuzzy blog house noise and I'm not convinced it's the path he should be going down.

Just listening to the album and it's cheese central. Not impressed.

The Seal album, I mean.

I actually like it. It's like the dreams you have that night after listening to Confessions on a Dancefloor.

i think the dance remix is great

definitely not what i expected, nor the way id have wanted him to go, but im kind of addicted to it.

he's produced the *SEAL* album??

INCOMING! New Zoot Woman

http://www.popjustice.com/index.php?option=com_content&task=view&id=1976&Itemid=206

With new - female - band member!

Oh, and also - according to wikipedia (Stuart Price and Killers articles):

"in an interview with Pete Tong on BBC Radio One, Stuart Price confirmed that he would be producing at least part of The Killers' third studio album."

Oh my, yes please!

man that coldplay remix still bangs

Yep.

if jlc must remix indie, i think joanna newsom's voice and melodies would be fucking awesome in an electro setting. also ariel pink!

-- The Lex (The Lex), Tuesday, January 24, 2006 10:48 AM (1 year ago) Bookmark Link

..........

in response to him remixing COLDPLAY

wish lex was still around to weigh in one the timbaland/onerepublic remix with bun b & lil wayne

so true about coldplay remix. EPIC.

my favorite is still gwen but the remix of 'sex and sun' is cool for being kind of singular w/in his regular style

felix rmx still all-time hall-of-fame.

Dude is producing the Killers album according to 6music right now. My god, I'm suddenly actually looking forward to it.

i'm still enjoying his dance mix of Seal's 'Amazing' - the other Seal album tracks didn't sound so hot

sex and SUNNNNN

Dude is producing the Killers album according to 6music right now. My god, I'm suddenly actually looking forward to it.

if this is for real and not an april fool's joke I fully expect this to be my favorite album of this year.

ITS WHERE I LONG TO BEEEEEEEEEE

jacque lu cont mix of dance is dope as fuckbut i never need to hear the little kid vocals ever again does anybody have a dub/instrumental?

lost classic is the paper faces remix of zoot woman's automatic

i onbly have the vocal mixes. which i love, it's awesome when the kids come back in at like the 7min or so mark

Dude is producing the Killers album according to 6music right now. My god, I'm suddenly actually looking forward to it.

if this is for real and not an april fool's joke I fully expect this to be my favorite album of this year.

-- jamescobo, Wednesday, 2 April 2008 15:55 (36 minutes ago) Link

this is the type of move i thought the killers should have done for their second album...they squandered a perfect opportunity to be the one cool rock band you could dance to

if this is true I'm EXCITED

he's producing the keane album too
i laughed when i first heard that but then i heard the amazing (!!!) brian eno produced coldplay track VIVA LA VIDA and i'm really excited now to see if stuart can better it.
actually does anyone reckon viva la vida sounds a more than a bit Lu Cont? he HAS to do a remix of it !!

he's already remixed coldplay once, and that worked out pretty damn fine.

Really looking forward to the new Killers album give this news, and also interested to hear he's behind the new Keane album as I thought their first track off that was really rather good

hes also done the frankmusik album and some of the tracks from the innerpartysystem album

+ 2 new remixes...
Coldplay - Viva La Vida (Thin White Duke Remix)
Frankmusik - 3 Little Words (Paper Faces Remix)

anyone heard these yet?

So what do folks think about "Human"? I completely dismissed it upon initial listen. But this thread has made me listen again a few times and I'm starting to think it may actually capture that Killers+Lu Cont magic.

I don't know about wrong, but those Killers and Keane albums were not terribly right. Methinks Madonna spoiled the guy (both figuratively and literally), but hopefully the guy has spent all his money on equipment, not drugs, and plans to come back swinging. I mean, that "Wrong" remix is OK, but he can do better.

He hasn't done anything particularly good since Confessions on a Dancefloor, although maybe the great Coldplay mix was after that. He had a longer and more prolific purple patch than most though.

great OP

http://img.photobucket.com/albums/v136/primrosehill/lucontstencil.jpg

I passed this same building just today! <3

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Still amazing.

R...E...M...I...X

coldplay mix def came out after the madonna record. nothing since has even come near the quality, 'cept maybe the 'D.A.N.C.E.' remix.

golden period mixtape:

'from: disco to: disco' rmx
'hey you what's that sound'
'jacques your body'
'silver screen shower scene' rmx
'miss you' rmx
'payback time' rmx
'danger! high voltage' rmx
'the conductor' rmx
'man with guitar'
'four to the floor' rmx
'just let go' rmx
'what you waiting for?' rmx
'mr. brightside' rmx
'avalon' rmx
'hung up'
'talk' rmx

challop: i always preferred the other mixes of that royksopp track

xp hott mix, he truly has so much good stuff, i may have said this before but a single disc of his greatest remixes might be the best comp of the decade

still haven't heard new zoot woman. is he still with them?

i thought he was them

it was him and two other dudes when they started.. now i think there's a 4th member?

Finally he's back, the remix for Friendly Fires is remarkable.

The Kevorkian Dub mix of Talk narrowly beats the JLC mix for me. Don't know waht it is about that song, pretty mediocre in it's original form but turns into gold when somebody else gets hold of it.

In some sense, isn't the Coldplay "original" something of a remix itself?

?

bcz of kraftwerk i guess

thats not a remix

in a sense we are all remixes. in a very real sense god is like a remix.

god is the master tape. we are all 128kbps mp3 copies of that master tape, posted on blogs

With viruses.

challop: i always preferred the other mixes of that royksopp track

That's not really a challop - the Trentemoller remix of Royksopp knocks almost everything JLC has done into a cocked hat.

no way, that's not even trentemoller's best remix.

jlc felix remix is above and beyond most everything...

haitch's otherwise a+ golden period mixtape is missing his mix of missy & ciara's 'lose control' which may well be my actual favourite

what's the best trentemøller rmx if not 'what else is there?' ronan?

unai-oh you and i (trentemoller mix) is my favourite...can't find it on youtube or spotify...

http://open.spotify.com/track/4bhV7lK7p24eAb7TFArcM9

actually there it is, mixed with what sounds like extrawelt on the way in and something else on the way out

helped by the fact the original is also better, actually kind of a blueprint for the royksopp one imo

Trentemoeller's Robyn mix is also pretty good. I hear he's got a mix of Seven Nation Army that makes motherfuckers' headz cave in and shit.

also to return to the subject at hand, JLC's mix of the Friendly Fires' "Cool in the Pool" is being hailed as some sort of return but I ain't buying it. the best thing he's produced since that Coldplay mix is easily Frankmusik's "3 Little Words".

love 'Jump In The Pool' but hoping he's slowed it down a bit while empthasising the euphoric chord patterns and the lush synth voices more. it's a v obvious choice of track for him to do his typical thing tho.

Haha it sounds almost exactly like that, lush and warm and euphoric and slowbuilding. He does something very nice with carnival drums at the end, looping them throughout. It's a really good track.

Thanks to James for pointing out its existence, I didn't know about it.

He keeps all the best bits of the song in and kind of puts them in different places, the enormous swell with the "keep breathing, keep searching, keep holding on" bit and the big drum smashes is all present and correct but just made bigger.

JLC produced Frankmusik? I had no idea.

friendly fires seems to inspire really great remixes.

my favourite jlc remix is of britney's "breathe on me"! so good. (was also gonna rep for his mix of new order's jetstream but then realized the one i was thinking of was by richard x. whoops.)

I think he produced Frankmusik's entire last EP, but I'm certain he at least produced "3 Little Words".

yes, "breathe on me" is awesome

bit disappointed with the FF remix in the end but maybe just because i really do like the original

Have to say that the Frankmusik album is just glorious (a couple of duds) and sounds almost entirely like a new LRD album.

His Sneaky Sound System remix is glorious.

paper faces remix of fdh isn't up to much

the first two tracks off the FM album sound like LRD, the rest gets weaker as it goes on which is a shame. I wonder what happened between the EPs and the album?

http://www.guardian.co.uk/music/2010/jul/15/robbie-williams-rejoins-take-that1

They secretly wrote and recorded six songs that became the foundation for the forthcoming album, produced by Stuart Price.

I'm sure this will be up to the consistently high standard we've all come to expect from Stuart Price since Confessions on a Dancefloor.

For many, Take That were the original template for boyband success.

This isn't the first place I've seen that claim, and maybe it's just a Britisher-centric observation, but New Edition and New Kids on the Block both came before them and were pretty successful the world over iirc.

mm. well in fact original manager NM Smith based TT on NKOTB in the first place. the original advert for band members actually said 'dancers wanted for Britain's answer to New Kids..' or words to that effect.

op here
still love this tonight... only 4 bars of every song = perfection.
and no one does the start-to-finish strings remixes (felix, even starsailor)

give me new jlc!
or alternatively, what went wrong? besides becoming a proper producer

Still hoping for a compilation of his career-peak remixes to turn up at some point...

http://www.youtube.com/watch?feature=player_embedded&v=3SNTpZdFhwo

ayyy

really not feeling the new stuff. too justice.

would have been huge for me in 2006. still like it. i suppose that's an endorsement.

https://soundcloud.com/tiga/tiga-plush-jacques-lu-cont-4

Woah when he decide to go all ravey again? This is great.

Nice.

i'm in an i hate fun mood, but this is winning me over a bit.
https://soundcloud.com/tracques/tracques-album-sampler

lunartick put me in the mind of this
https://www.youtube.com/watch?v=Gp48QzSerT8

not quite as dramatic tho

anyway, yeah, this tracques is a cut above

i've suddenly had to listen to the mr brightside remix every day for the last week