With the exception of the rogue ‘Grey
Album’ by Dangermouse, Beatles remix albums have tended
to detract from the originals instead of refresh and re-enlighten
them. Although it is inaccurate to label this a Beatles remix
album, the fact still remains that most people who have attempted
to play around with the Beatles back catalog have burnt their
fingers. Not so in this case. ‘The Universe of Languages’
is a unique re-composition (or ‘re-wire’) of Beatles
tracks which are nestled amongst new compositions composed by
this avant-rock collective who invite more than a few (famous)
friends to join in the fun. This innovative enterprise has been
undertaken by Katia Labèque (an unconventional pianist
from a classical background to whom Miles Davis dedicated two
songs), David Chalmin (from sci-fi avant-rockers Dimension X),
and contemporary composer Nicola Tescari and joining them are
a whole host of underground superstars including Massimo Pupillo
(Zu), Patti Smith and even Daniel Day Lewis!
In total there are nine Beatles songs which
have been completely deconstructed and newly arranged into a dynamic
and brooding clutch of avant-rock compositions which possess a
post-punky cabaret jazz-rock aesthetic to it. Refreshingly, B
for Bang have selected tracks from across Beatles back catalog
and not just their most famous tracks with only ‘Come Together’
featuring on The Beatles ‘Number 1’s’ album.
Initially the listener is welcomed by a mishmash of vocal samples,
spluttering feedback and warped micro melodies which pave a dark
and eerie path to the resonant keys which open ‘Being For
The Benefit of Mr Kite’. As soon as the drums and unique
Eugene Robinson-esque narrative kick in, the quality of the production
makes itself apparent with its wide soundstage and crisp positioning
in which each individual instrumental element basks in its own
unrestricted space. The track itself grabs hold of the quirky
and twee melodica of the original but takes it through a psychedelic
blender of warped sound effects, slightly out-of-key instrumentation
and a very tangible level of visceral energy. ‘Helter Skelter’
initially sees gold-dipped melodies snake across a melancholy
soundscape with strings accentuating the sense of majestic glumness.
This brief glimpse of serenity is short-lived as the track turns
into a melodic avant-punk train-crash of ‘falling down stairs’
piano, high tempo skittering percussion, dissonant feedback ridden
guitars and screeched vocals; a combination which brings to mind
visions of ‘Get Hustle’ jamming with Henry Cowell.
On ‘Golden Slumbers’ the collective
create an instrumental only, atmospheric piano and feedback medley,
giving the original track a noir-ish, David Axelrod composes for
David Lynch feel. John Lennon’s heavy psychedelic sound
of ‘I Want You’ was one of the key contributions to
‘Abbey Road’ and the rewire is probably the pick of
the bunch on this album with its psychedelic avant-math pop dynamic.
Initially a bouncy clutch of keys and strings dance breezily under
Katell Keineg’s innocent girlish vocals. It’s all
a bit ‘Little Red Riding Hood’ if directed by Goddard
but just watch out for that damn wolf, as the whole thing gets
swallowed intermittently by a monstrous cascade of crashing piano
keys, threatening guitars and angular percussion. The interplay
between the serene and the heavy is gracefully arranged and gives
the track a real poise that is so unique but at the same time
isn’t a million miles away from the original. ‘Happiness
is a Warm Gum’ is a testament to the futuristic vision of
‘The Beatles’ and ‘B for Bang’ take influence
from the solemn introductory section of the original and deliver
it across the whole track resulting in a subtlety menacing grungy
alt.rock offering. The collective add contemporary depth to the
hazy lullaby ‘Julia’ whilst ‘Lucy In The Sky
With Diamonds’ sees them engage in a complete reconstruction
of the Beatles foundation with the track shedding its recognizable
identity and morphing into something entirely fresh. The collective
engage in a sound that see’s off kilter keys set in an energetic
chamber-rock aesthetic before the familiar and unique vocals of
Meg kick in, sung atop of a sinisterly drifting minimalistic classical
soundscape. The collectives own unique compositions tend to be
limited to short and semi-abstract interludes which act as a gel
between the recompositon’s. Towards the end of the album
they present a number of full length tracks which showcase their
experimental nature. ‘Between Those Rocks’ is a slice
of cacophonous classical avant-garde whilst ‘The Last Man
On Earth’ is a terrifying mishmash of constantly switching
off-kilter instrumentals and leftfield samples.
Overall, ‘Across The Universe of
Languages’ is a cracking reconstruction of some of ‘The
Beatles’ most endearing and hypnotic tracks and endless
pleasure can be had by comparing and contrasting the originals
with the new re-composed versions. The real ‘crux’
of this album though isn’t just the intelligent recompositon’s
but the booming production values which make the songs burst out
into your listening space and make the listener re-assess just
how good their hi-fi system is. In addition, this release will
allow a new generation of hipsters to uncover a treasure trove
of classic Beatles material. (KS)
(Hella
+ TV on the Radio + Henry Cowell + Pendericki) + The Beatles =
B For Bang
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