Forty Five More Minutes Of Edits

In recent weeks I've done two Sunday mixes made up of edits. Part One is here and Part Two is here. Today is Part Three, another forty five minutes of edits, this one largely dancefloor oriented and with an 80s feel. 

Forty Five Minutes Of Edits Mix Three

• Can't Cope (Cotton Bud Re- Master)
• No- Thing
• M&M Hardway Bros
• Swamp Shuffle
• Never Let Me Down (Hunterbrau Edit)
• Jackie (Cotton Dub)
• Longed

Can't Cope is from Jezebell's Jezebellaeric Beats Vol. 1, a dubbed out and spaced out way to enter into the mix, our friend the Archdrude Julian H. Cope sent spinning even further out into the cosmos than he was previously. Safesurfer is from 1991's epic Peggy Suicide, the start of Julian's imperial period. Swamp Shuffle is also from Jezebellaeric Beats Vol. 1, the closing track, this time David Byrne, Tina Weymouth, Jerry Harrison and Chris Frantz given the treatment by Jesse and Darren. 

No- Thing is from Resident Rockers, the in- house edit team at Eclectics. Heroes. Twin Peaks. Moby. Acid. No- thing will keep us together. 

The M&M Hardway Bros edit takes Sleaford Mods Mork and Mindy, a song from 2020's Spare Ribs, with Billy Nomates on guest vocals, a tale of a childhood spent in colourless suburban council estates, Action Man and Cindy and mum and dad being out, long afternoons with nothing to do. Sean monkeyed about with it and turned it into an ALFOS at The Golden Lion moment. 

Hunterbrau's edit of Depeche Mode's 1987 classic Never Let Me Down came out on Paisley Dark, dark disco/ slowed down sleek goth.

Rich Lane's Cotton Dubs are second to none. His edit of Sinead O'Connor's Jackie (from her debut, the Lion And Then Cobra) repurposes Sinead with an 808 while losing none of her power. 

Longed is an edit of All Day Long from New Order's 1986 album Brotherhood. The chopped, looped and edited version here, largely instrumental, is from an intriguing project I was tipped off about on Bandcamp, a highly unofficial edit service by Follytechnic Music Library. Longed is from a collection of New Order edits called Ordered 86- 93 but there's waaaay more there than just one album of nine New Order edits. Have a dig around, see what you can unearth. 

David Lynch

David Lynch died last week aged seventy eight, as I'm sure most of the readers of this blog will know. He was a visionary artist, the director of film and TV that redefined what film and TV could be. His films- Eraserhead, Dune, Blue Velvet, Wild At Heart, Mulholland Drive, Lost Highway- all lit up the screen and took storytelling and cinema somewhere else. The dreamlike world he created, a sense of the surreal and the strange being just around the corner, live in the memory long after the credits have rolled. Twin Peaks reimagined what television could be and do. 

Music was crucial to Lynch's film and visual world. Blue Velvet, 1986's psychological thriller/ film noir, was based around the Bobby Vinton song of the same name and any reference to the film- the cover of The Face magazine above for instance- will have the song playing in my head instantly...

Blue Velvet

Blue Velvet is one of those 50s songs that has a weird, trippy edge to it regardless of its association with David Lynch's film. It's place in the film just made it even more so. 1990's Wild At Heart, a black comedy/ road movie/ romance/ crime spree film, made a star out of Chris Isaak and his song Wicked Game.

Wicked Game

Wild At Heart took Elvis, the 1950s, a snakeskin jacket, suggestions of the Wizard Of Oz and the stars Laura Dern and Nicholas Cave and wrapped them in a love story freak out. I saw it at the cinema in 1990 while a student in Liverpool, an afternoon screening that had us blinking in the daylight when we came out. My then girlfriend saw it with me and hated it (and made it clear during the film's duration)- it was very much a film that split opinions.

Twin Peaks is unimaginable without the soundtrack, not least Julee Cruise and Angelo Badalamenti's song Falling, that plays over the opening titles, a song that creates a dream world of its own and that sets the tone for everything that follows. 

Falling

It's been sampled ever since its release in 1990 as have other parts of the Twin Peaks soundtrack and world. I've posted this before but its worth posting again- a Bedford Falls Players track from last year called Agent Cooper Coffee Dreams that takes Kyle MacLachlan and Twin Peaks and builds a wonky, electrifying cosmic house world around them. Find it here. 

David Lynch was a music obsessive and frequently made and released his own music too, the '50s influences ever present along with his enduring love of the blues. Many of them are at Lynch's own Bandcamp page, the physical copies largely sold out but digital available. This one, The Big Dream, is the title track from a 2013 album, twelve modern blues songs, Lynch and his co- writer/ musician David Hurley (with Lykke Li singing on a bonus song) and a Bob Dylan cover (The Ballad Of Hollis Brown). Dusty blues, like some 21st century crossover of Tom Waits, Bobby Vinton, Jack White and Link Wray, but ultimately entirely Lynchian. 

The whole album is at Bandcamp too along with various other Lynchworld releases.

RIP David Lynch.

Agent Cooper Coffee Dreams

Markus Cooper, the man behind Bedford Falls Players, released one of my favourite EPs last year, the Three EP with Marimba Marmite, his remix of Matt Gunn's Learning Through Loops and Matt's remix of BFP's Chug Hug. Markus has followed it this week with a seven and a half minute excursion into David Lynch goes cosmic disco territory called Agent Cooper Coffee Dreams. It fizzes with energy and invention, synths crackling over a rattling drum machine, some familiar chord sequences and a sense of possibilities. The titular Agent Cooper- Kyle MacLachlan's Dale Cooper- turns up in sampled form. It's a fantastic piece of music, life enhancing and giddily ecstatic. You can buy it here for just £1.25. 

Twin Peaks was already the home to some memorable music, David Lynch's dreamworld mystery detective series having music stitched into from Julee Cruise's song that played over the titles to the music created by Angelo Badalamenti for the soundtrack. Julee's song Falling came out in 1989, a year ahead of the series starting, on her album Floating Into the Night (an album Lynch and Badalamenti co- wrote). The song is built around a very distinctive low end guitar part that harks back to the 50s but is smothered in a very 80s ambient/ Cocteau Twins sound, with Julee's voice a spectral presence. 

Falling

Angelo Badalamenti's The Pink Room soundtracked one of the most memorable scenes from the 1992 film Twin Peaks: Fire Walk With Me. Laura Palmer enters a world known as the Pink Room, a rabbit hole of hallucinations and sensory overload. 

The Pink Room