What relevance do these remixes have with the Brixton gig? None, but recently I've had numerous requests for some old NIN remixes that I'd forgotten existed. I wrote all four mixes about two years ago as part of my first attempts at using my new computer as a musical tool. To me they carry signs of inexperience, but I am still pleased with my antiquated arrangements and if there is a demand for them, then here they are - resurrected!
Gavin Banns : brixton_nin@hotmail.com
Date 5/4/98
A deeply contemplative and retributive cohesion of warm layers,
melt together and in their fusion create this beautiful instrumental piece.
How easy it is to lose yourself and transcend a world of illusion and ideology
in a moment of serenity; it is a deeply emotional composition.
I was wary of remixing this piece through fear I should take something away,
therefore I have stuck with subtleties, pouring ambient layers of sound into
the already molten mixture to keep the basic integrity together. I think without
doubt, the harmonic and haunting vocals are what gives this remix its life.
[If you listen closely to the beginning of the original 'Warm Place' there
is some quiet talking in the background. I believe this is Trent saying, "the
best thing about life is… knowing you put it together." - obviously Trent
is an advocate of free will as opposed to determinism or fatalism. ]
Date : probably March '98
This was my first attempt at remixing any song and for some reason I thought The Perfect Drug fused with Violet Fluid would be a good a place as any to begin. Again I have tried to build textures of sounds from layering fragments borrowed from Reptile, The Downward Spiral and Hurt alongside other samples.
Date : 6/4/98
I took a slightly more hands-on approach and wrote some subtle acoustic and electric guitar parts to blend with additional orchestral keyboard parts using the MIDI sounds from my old sound card.
Date : 12/4/98
I wrote this mix as a substitute for time spent on coursework. On hindsight I believe I had priorities bang in order! This mix took a little longer than the rest: the main body of music has been borrowed from the Pretty Hate Machine version of Down In It, but there are two other versions of the song also surfacing in places. The speaking that's present within the interlude has been taken from my very poor quality Disturbed Interview CD. As usual, there's an additional mixture of non-nin-related samples and sounds throughout the mix too.