Not too long ago, my man Jim Bartlett wrote an interesting blog post about a pair of (producers? musicians? samplers?) who chopped, juggled and reinvented old Elton John recordings into totally new songs — earning themselves both Sir Elton’s approval and a U.K. Number One album in the process.
In my ongoing search for something to listen to in the car on the ride to work, I took out a CD today I hadn’t listened to in a while — Venetian Snares’ Higgins Ultra Low Track Glue Funk Hits 1972-2006.
This is the only breakcore recording in my collection, and was either an impulse buy or an impulse add to my Amazon wish list that someone else bought for me.
There’s really only one song on it I like; and tonight I’ll share it with you so you don’t need the CD.
“Banana Seat Girl” is an intensely sliced-and-diced remix of Stevie Wonder’s classic ’70s instrumental “Contusion,” except for a period in the second half that seems to use some flute-based jazz tune I don’t recognize.
I like it because it sounds like 100-foot-tall progressive rock … like the world’s brainiest and most dangerous band, able to step with a single mind from one crazy time signature to the next, driven by a maniacal drummer with eight arms who doesn’t need to breathe.
Of course, you could simply say it sounds like a skipping CD. And I suppose that would be a valid enough interpretation. But that’s not what I hear.