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Home > All articles > SYNCHRO NINE FACTOR > Synchro Nine Factor [reviews]
Synchro Nine Factor [reviews]
re[mix] |S9F/Doogah Music, 2007|

1. 1. The Afterlife - Nigredo, 2. More Than Machine - Autovon, 3. 35959.59 (Thalidomide Mix) - Reverend Hudson, 4. Thought Destroyer - Jon Thompson, 5. Stomp - PsiVamp, 6. Seeking Authorization - John Omen, 7. Running Out of Time - Seth Questor of Xero/G, 8. Not Quite Right - Disgracer X, 9. In A Dubsense - Stan Satin, 10. Sight Unseen - The Devil & The Worm, 11. The Fury (Turbulent Mix) - Electric Bird Noise, 12. Heartless - Zod, 13. Arduous (The Endurance Mix) - Jon Thompson, 14. Scorched Earth - PASK, 15. Invisible Birds - Electric Bird Noise, 16. Ilium Opium - Stan Satin, 17. Me Synthetic - Seth Questor of Xero/G, 18. Less Than I - Searad, 19. Replication 9 - Zod


I don’t know when exactly the idea of remixing was born but I guess it's been potentiated for the last 10 years according to hi-tech equipment and software offered along with the common computers use. If the band released a remix album 10 years ago they remixed their songs themselves or let it do someone well known and experienced with a mixing board or just having a recording studio.

Looks like thesedays' bands find remix albums almost a fashion to follow on involving well known names but also minor artists what brings a variety of the cooperation advantages.

First of all, an access to the remixing tools became easier thanks to the computers and software for making music. A band which decides to release such a CD and covers the release costs gets an additional advertisement by the bands involved in remixing. The bands into remixing can attach a note to their bio and discography about such a release what can lead them to create a new cooperation in the future, an interest of new fans and a possibility to support some other bands during their tours. A possibility of new talents headhunting becomes easier this way for a variety of journalists and promoters too. Though seems like we can exclude a record label interest in XXI century.

Another interesting aspect of the remixes is about melting different music styles together. Most often bands remixing have an experience got from let’s say techno or electro music making to work on a song originally not touched by a computer, or for example there's a reggae song remixed by a rap band etc. Sometimes this mixture sounds convincing but sometimes samplers and other tools weren't planned well and tried out in many configurations so the result is a dyspeptic pulp coming as an experiment. It's a matter of time what it brings to the bands involved.
To sum up, a chain of connections is being made and it's beneficial for both sides involved.

There are also disadvantages of remix CDs for a band requiring remixes, especially if the band releases too many remix albums delaying a CD with new songs by their own. Fans can go away during this time. I've heard a lot of remixes so far and personally I don’t enjoy those kind of CDs more than brand new songs of a band which I haven’t heard before. But as I mentioned above it’s a good way for new bands headhunting.

When speaking about a remix process it's all about picking up a song which an artist knows exactly how to remix, but it cannot be made under pressure. The artists who decides to make a remix has to see the final result and has to see the strengths of the chosen song to keep them underlined. It should be a different version of the track including its original vibe. However some bands make totally new songs based on original tracks and sometimes they turned out much better than the original songs.

SNF decided to release a remix CD having 14 artists, amongst whom I recognize such names like Adam Pask and Searad only. I see other names the very first time. It seems like SNF gave a chance of the new experiences and a note to bios and discographies for the bands coming from mostly electronic music scene (techno, industrial, ambient, experimental). They are mostly based on The East Coast, Atlanta but also Philadelphia, New York or even North Antarctica. I guess they found it a challenge to remix SNF's hard rock music and most of them made it satisfying.

Most of all, the album contains electronic or dancefloor songs versions suitable for radio stations or club parties. I would point out really good remixes by John Omen, Stan Satin, Seth Questor, Searad, Nigredo, Autovon, Reverand Hudson and as usually sovereign Adam Pask.
The best remix on the CD is The Fury (Turbulent Mix) by Electric Bird Noise, the worst Sight Unseen (The Devil & The Worm). It's not a challenge to chop the song and replace its original parts with some new samples and hellish noise to me.

(Katarzyna 'NINa' Górnisiewicz. Must not be used for promotional or commercial purposes. See a Legal Note for the copyrights below)
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