The premier pop star on the planet collides with a host of indie darlings and producers on Born This Way - The Remix. Is it an attempt by Lady Gaga to grab some alt. cred or is she just embracing the lesser known acts she loves and wants to shine a light on? Well, I don’t know, you’d have to ask her, but it’s difficult to imagine Ms Germanotta bopping away to The Horrors or Wild Beasts (before going on stage to shoot fireworks from her bosom (or whatever her stage show consists of now)
Also, a quick question; why do remixes always seems to last double the original track’s length and turn the most harmless pop songs into dull club fodder? On …The Remix, only three tracks clock in at under four minutes, with eight others lasting past five. Zedd's rework of "Born This Way" stretches out and outstays its welcome, going from thrilling to bland after three minutes, whilst Foster The People take a shot at making "The Edge Of Glory" a euphoric monster, but retain none of the camp fun of the original.
But it’s not all monotonous beats. R&B blog idol The Weeknd is the man charged with the task of reworking Gaga’s newest single "Marry The Night", and succeeds fairly well in putting his own stamp on the song; throwing in damn fine beat and dreampop synths, before dropping everything for a second half made up of moody piano. Goldfrapp's take on "Judas" is banger, pitchshifting Gaga’s vocal resulting in something that sounds a little like Hercules & Love Affair, only superb. Metronomy's "Yoü and I" remix is far removed from the MOR original, stripping it to the bare, almost ambient bones and is possibly this writer’s remix of the year (it also far outstrips Wild Beasts’ attempt, which isn’t bad but has nothing on Metronomy’s version).
Rounding out the British indie contingent are The Horrors, Hurts and Two Door Cinema Club. The former’s version of "Bloody Mary" is as you’d expect; slow-burning krautrock synths to make The Radiophonic Workshop proud, whereas Manc duo Hurts go a bit dubstep for their “Judas” remix but retain their trademark synthy bombast. Two Door Cinema Club’s remix of "Electric Chapel" is fairly routine, bouncing along with a nice groove that may point to an electronic sound for their second album. The final fifth of the record, made up of Twin Shadow's “Born This Way”, Royksopp's ten minute version of Judas and The Edge Of Glory remixed Sultan & Ned Shepard, makes for a fun close to the record. Twin Shadow’s mix sounds almost like classic era Michael Jackson with one hell of a funky bassline and a pure honest pop nous that’s all but disappeared from the charts, Sultan and Shepard channel Daft Punk to good effect for their track whilst Royksopp present us with a near unrecognisable ten minutes of icy Scandanavian beats.
The rest of the record is fairly dull and predictable save for a few tracks; "Scheiße", "Americano" and "Black Jesus + Amen Fashion" are your typical euphoric club tunes that never seem to get played in clubs. You begin to think they’re only included for mainstream radio airplay or to lure in those who prefer their dance music dumber that a Transformers movie.
Born This Way - The Remix is one of the better remix albums to be associated with a top level popstar and it helps that Gaga (or her label) has been fairly eclectic in her choice of remixers. God knows no one wants a Skrillex or James Blake remix anywhere near Gaga. The fact that her songs can be moulded and morphed into pretty much any shape is a sign that Lady Gaga is here to stay.

 

The premier pop star on the planet collides with a host of indie darlings and producers on Born This Way - The Remix. Is it an attempt by Lady Gaga to grab some alt. cred or is she just embracing the lesser known acts she loves and wants to shine a light on? Well, I don’t know, you’d have to ask her, but it’s difficult to imagine Ms Germanotta bopping away to The Horrors or Wild Beasts (before going on stage to shoot fireworks from her bosom (or whatever her stage show consists of now)

Also, a quick question; why do remixes always seems to last double the original track’s length and turn the most harmless pop songs into dull club fodder? On …The Remix, only three tracks clock in at under four minutes, with eight others lasting past five. Zedd's rework of "Born This Way" stretches out and outstays its welcome, going from thrilling to bland after three minutes, whilst Foster The People take a shot at making "The Edge Of Glory" a euphoric monster, but retain none of the camp fun of the original.

But it’s not all monotonous beats. R&B blog idol The Weeknd is the man charged with the task of reworking Gaga’s newest single "Marry The Night", and succeeds fairly well in putting his own stamp on the song; throwing in damn fine beat and dreampop synths, before dropping everything for a second half made up of moody piano. Goldfrapp's take on "Judas" is banger, pitchshifting Gaga’s vocal resulting in something that sounds a little like Hercules & Love Affair, only superb. Metronomy's "Yoü and I" remix is far removed from the MOR original, stripping it to the bare, almost ambient bones and is possibly this writer’s remix of the year (it also far outstrips Wild Beasts’ attempt, which isn’t bad but has nothing on Metronomy’s version).

Rounding out the British indie contingent are The Horrors, Hurts and Two Door Cinema Club. The former’s version of "Bloody Mary" is as you’d expect; slow-burning krautrock synths to make The Radiophonic Workshop proud, whereas Manc duo Hurts go a bit dubstep for their “Judas” remix but retain their trademark synthy bombast. Two Door Cinema Club’s remix of "Electric Chapel" is fairly routine, bouncing along with a nice groove that may point to an electronic sound for their second album. The final fifth of the record, made up of Twin Shadow's “Born This Way”, Royksopp's ten minute version of Judas and The Edge Of Glory remixed Sultan & Ned Shepard, makes for a fun close to the record. Twin Shadow’s mix sounds almost like classic era Michael Jackson with one hell of a funky bassline and a pure honest pop nous that’s all but disappeared from the charts, Sultan and Shepard channel Daft Punk to good effect for their track whilst Royksopp present us with a near unrecognisable ten minutes of icy Scandanavian beats.

The rest of the record is fairly dull and predictable save for a few tracks; "Scheiße", "Americano" and "Black Jesus + Amen Fashion" are your typical euphoric club tunes that never seem to get played in clubs. You begin to think they’re only included for mainstream radio airplay or to lure in those who prefer their dance music dumber that a Transformers movie.

Born This Way - The Remix is one of the better remix albums to be associated with a top level popstar and it helps that Gaga (or her label) has been fairly eclectic in her choice of remixers. God knows no one wants a Skrillex or James Blake remix anywhere near Gaga. The fact that her songs can be moulded and morphed into pretty much any shape is a sign that Lady Gaga is here to stay.