After having a hugely successful last year, Black Sun Empire are back again and bring an even more punishing version of their latest album. With their last album “From the Shadows” being in the top five overall LP’s sold on Beatport last year, it’s only fitting a remix EP was in order. Choosing three of the most popular tracks from the album, the boys recruited a handful of well known and up-and-coming producers to up the ante of “All is Lost,” “Dawn of A Dark Day,” and “Killing the Light.”
First up is the Memtrix remix of “All is Lost” and this 17 year old wunderkind didn’t hold back one bit. Maintaining the dark and cold atmosphere of the original with growling bass and alarming synth stabs, Memtrix builds up to an innovative (and did I mention decapitating?) half-time bassline. What has already been dubbed a remix that sounds reminiscent of Spor material, Memtrix hammers the listener with a jumping and pitch-bending bassline that smacks down with each snare hit along with lashing synths that slice your limbs to bits. For those that are lucky enough to stay alive and make it to the second drop, Memtrix goes full time with the bassline and beautifully reverberates Thomas Oliver’s vocal to leave your now fully mutilated self calling for a reload.
Next up is Telekinesis and their remix of “All is Lost.” Better known to some as Smooth & Markoman, the two Slovenian’s slick production demonstrates why they were selected for remix duties. Taking a more piano-infused and “come-together” sounding intro in comparison to Memtrix, the hit of a kick drum triggers the energy inducing vocals of Youthstar in combination with a pounding drum break that leads up to a grooving half-time monster of bass. Swinging, distorted bass and slow, fat snares call for guaranteed head-banging and trigger-fingers before flipping into a full-time bassline that engages rag-doll mode across dance floors.
Taking on “Dawn of A Dark Day” first is the energy-crazed UK producer Prolix who masterfully pays respect to the original while adding his own usual flavour. With little hesitation, Prolix drops the Foreign Beggars into a war of half-time swinging bass, metallic percussion, and winding synths that pays homage to the original, but with a beefed up low-end. With such a menacing and energetic intro few could figure out a way to construct an effective drop but Prolix does so with great effect. A rolling and smashing bassline hits you like a bomb followed by an attack of those heavy metallic drums and dizzying synths. This one melts faces, blows speakers, and explodes dance floors, period.
The second remix of “Dawn of A Dark Day” is our favourite off the EP. Russian anarchist Receptor takes us on an emotional rollercoaster that leads up to a bassline that could have quite possibly caused that “Russian Meteor” to fall to Earth. An up-start intro drives the Foreign Beggars along with Recptor’s slick drums and swinging neuro bassline that then drops into a cinematic breakdown that could be mistaken for Hans Zimmer being played in a rave. Receptor’s remix is so unique it could easily be considered two songs in one. The breakdown builds like a movie and the atmosphere is epic. Earth shaking bass stabs indicate something grand is about to unfold and just when you think it couldn’t get any more massive, Receptor rattles your senses even further with guitars and strings that sounds like Slayer combined with an orchestra. The cinematic atmosphere from before combines with the epic arena sounds of metal music and funky, distorted basslines of neurofunk before leading up to a meteoric drop of pitch-bending reese bass and sledge-hammering drums. The drop is a full on attack of warping bass, burst-firing drums, pitched down vocals, sample freezes, and more. Quite simply this remix has so much going on (in a good way) that you have to take a moment to sit down and enjoy it in its full glory.
Last up is “Killing the Light” and the BSE boy’s decided to recruit a couple of Dutchmen (and an Englishmen) to take on their more down-tempo and atmospheric production. First up is the Dutch-English duo known as June Miller who send us to outer space with their supersonic, laser infused bassline. Opening with progressive percussion and soft synths that euphorically move the vocals of Inne Eysermans, June Miller figures there’s only one way to remind you of their remix (pun intended.) Dropping into a tight and lashing bassline with solid aluminum drums, June Miller incorporate their innovative and lethal engineering skills to warp the bassline and to fire drums at you in ways you couldn’t imagine. Perfectly filtered drum fills and sonically seducing synths just leave you frozen in awe of what you’re hearing. June Miller executed their style in a way that hints at the original yet effectively demonstrate why you will be seeing and hearing more of the duo over this year.
The second remix of “Killing the Light” comes from Mr. Freeze aka Icicle who paints a beautifully dark picture using his palette of sounds to sharpen up the percussion and lower the temperature of vocalist Inne Eysermans. This one is digital and gritty. Icicle bounces the bassline around enough to induce some serious skankin’, but keeps it heavy and full of stabs to leave you on your toes. A master of minimal funk combined with heavyweight bass, Icicle does the original a great amount of justice and flips it into a track that will move and shake you on the dancefloor, in the car, or while walking down the street. Expect to hear this one a lot.
Check Out Our Interview With Black Sun Empire Here!