“To celebrate and thank my now 100.000 followers I feel lucky I have, here’s something that’s been a fixture of mys sets. A proper re-edit of my favorite bits from both the LP and DP’s official remix versions. While I’d love you to have it, it is unofficial, so I can only have it streaming here as a showcase of my editing work. Original remix is linked It still great music so hope you’ll enjoy it nonetheless :)”
I’ve seen Lynch’s Dune more times than I can remember. On VHS (standard and widescreen). As clips embedded in the CD-Rom version of Cryo Interactive’s classic (at least it was to me when I was a kid) videogame. On innumerable DVDs (TV cuts included but not that Japanese DVD edition I held in my hands then saw the £100 price tag in the Cinema Store circa 1999) and finally on one of the three different Blu-Rays I’ve imported from all over the world.
It’s an obsession.
That it’s a complete disaster of a film is pretty much accepted by this point (a perception egged on by Lynch). The second and third acts are truncated to the point of parody, doubly so if you luxuriated in the Freeman sequences from the novels, here reduced to a few brief scenes. And then there was a massive, planet-wide uprising that stopped all Spice production…in a montage…for five minutes.
But it’s worth every oblique glimpse into the film it could have been. If you place the screen in your peripheral vision you can sometimes catch the true film underneath. So scarred by the experience was Lynch that he barely speaks of it, only rejecting that there was a 4 hour cut and talking extensively about the Mexican wood used in the sets. It’s a folly then, a gigantic $50m folly and it’s so glorious and transcendent and perfect at being just that. It manages to be both a fantastic evocation of the novel and completely apart from it.
And then there was Toto.
Given Lynch’s hatred of the 70s and pretty much everything Toto represent I’ve never been able to understand their involvement. What’s even more baffling is that what came out is this weird, operatic, digital new age music that’s not anything like the plains down in Africa. Not universally, of course, there’s still some questionable stuff on there.
There’s a simple theme that runs throughout that Lynch seems to have locked onto as it acts as a bed to the vast majority of the film, no doubt pushing out some of the other pieces Toto wrote. The best of several realisation of this being ‘Paul Meets Chani’. Full on digital pan pipes from the off the Vienna Symphony Orchestra soon gets in on the act, creating this rolling, multifaceted look at the same simple theme over and over again. Perfectly grandiose and mystical and operatic in all the ways the film tried (and eventually failed*) to be.
What seemed to make vastly more sense was getting early 80s Eno involved. Straight off the back of the Apollo documentary Soundtrack (later re-edited and released as For All Mankind) Eno was deep in the planetary scale Ambient. His Dune is the Dune of the desert night. Of spiritual forces flooding up from beneath the sand and into the stars. Of a God’s eye view of the dunes and a psychic sense of the worms that move below them. It’s called the Prophecy Theme and it perfectly compliments Lynch’s symbolic interpretation of Pauls precognition. Apparently Lynch shot far more of these symbolic montages than made the film. It’s also rumoured that Eno had produced an entire Dune score and that this was just an excerpt. That I’ll never experience either of these things is deep and unremitting sadness.
There are several versions of the soundtrack out there. One from 1984, then a different version from 1997 with all sorts of technical problem, then finally a 2001 version with the technical issues fixed but which only got a tiny release. Filmtracks has loads of good info here.
Lynch’s Dune is 30 this year and I love it more than ever. And that, not its anniversary, is why I wrote this post.
Bonus Lynch interview from back when he seemed quite optimistic about the film.
*it “tried and died”.
The secret agents of Texas based duo, Night Drive, are back on another mission with their latest remix package for ‘After Dark.’ Accompanied by some wicked remixes from The Penelopes, Orthy, Bagheera and a super creepy video (view that HERE), it’s safe to say that these futuristic beat maker’s have been rather successful at their task.
More free goodies from our pals over at Exposure Music. This time, the title cut from Little Dragon’s third album, “Ritual Union” get’s a fab re-touching from Tuscany/Berlin duo, Black Loops. With previous releases on Gruuv Recordings, Toytonics and Gomma; Black Loops are no stranger to quality imprints and it’s only fitting that they should offer this fantastic remix via the Hamburg label.
A$AP Ferg with his version of the Future track “Move That Dope”, equally gritty but without Future and his guest rappers.
BLONDINO is a producer/dj out of Umeå in the north of Sweden where winter is always coming. On this remix of the track “10-tal” from fellow Umeå outfit Väärt we catch him pulling out a blipped out, 8 bit sounding synthline along with a shuffling, slo-mo bassy beat that plays against handclaps and eerie vocals for a mesmerizing track.
We’re heading to the desert this weekend, are you coming too? That’s right, Coachella is upon us and even if you weren’t able to snag a ticket to the festival there’s still plenty of magic happening outside of those polo grounds. Our favorite pick is The Saguaro Desert Weekender taking place at one of our favorite hotels in the whole wide world. Check up the lineup for the 3 day extravaganza along with a nice little mix from The Knocks to set the mood. You can RSVP at http://thesaguarodesertweekender.com/.
Norwegian hyped up outfit Loveless shoots another monster of a track our way.
“Hold Me” sees alot of influence from UK garage and mixed up with r’n'b this makes a melancholic sounding dancefloor bomb.
Our favorite imprint from the great, green state of Colorado, Night Supply, has just released a brand spankin’ new tune from local, Sylent EFX. With an off-kilter piano riff not dissimilar to Old Dirty Bastard’s “Shimmy Shimmy Ya’, stacked on top of a shuffling rhythm and choppy vocals, we’re stoked to hear more from this 18 year old producer!
Ooh wee! Such a classic and one of my absolute favorites from the Motown-Man himself! This version of the legendary tune, ‘I Want You’ by Marvin Gaye get’s a beautiful, extended treatment from Diskobeistet and is available for FREE DOWNLOAD from the good folks over at People Love Music.
Emerging L.A vocalist, producer and songwriter ZHU is responsible for the fantastic electronic medley of Outkast tracks called “Moves Like Miss Jackson” that we posted back in mid-February, new track “Paradise Awaits” is the first single off his debut EP “The Nightday” (will be released April 20th on L.A label Mind Of A Genius).
“Paradise Awaits” is futuristic sounding garage-soul that pulls together bouncy synths, propulsive beats and slinky vocal hooks.
The EP consists of six original tracks that draws from dance music genres ranging from house to disco to garage to synth-pop which are laced with his pristine vocals.
If you’re feeling this as much as we are, go on and pre-order it now on iTunes .