Legendary UK producer Paul Woolford has worked his remix magic on Samm Henshaw’s feel-good hit ‘Church’. Transforming the record with a range of retro-sounding 90’s synths, and early Balearic tones, Paul’s spacious effects are perfectly layered below Samm’s captivating vocals.
The original ‘Church’ track is a rhythmic release packed with strong gospel elements and a vibrant melody, which showcases Samm’s penchant for the upbeat, fusing soul-led hooks with his highly personable characteristics.
Adding a slick dancefloor feel via his vintage chord patterns, Paul Woolford’s remix of ‘Church’ is out now!
A steamy, piston powered slice of deep house, Paul Woolford cherry picks the lush strings and sharp vocals of Sailor & I’s original, on this deliciously dance floor friendly remix of Rivers online today.
A heady fusion of the orchestral and the industrial, Sailor & I’s original has been an emotive highlight of Sailor & I’s recent live shows and debut album. Here it gets an epic rework and some dance floor raising architecture from one of house music’s hottest producers.
Sailor & I return to the UK for shows at The Great Escape in Brighton later this month:
Friday 19th May, KOMEDIA STUDIO, 7pm
Friday 19th May, KOMEDIA STUDIO, 1.30am
Drones Club have shared the Paul Woolford remix of new single ‘Hurricane’, taken from their forthcoming ‘White Crocodile’ EP on PMR Records. The unique London collective have also been confirmed for a headline slot at this year’s Great Escape Festival, following a London show at Courtyard Theatre in support of the EP.
“Sometimes we wake up and outside our door there’s a gathering storm – a growing chaos we cannot control,” write Drones Club, introducing epic and euphoric new single ‘Hurricane’. “There is and will only ever be one option: to throw ourselves into the clouds. In this moment of acceptance and courage we are at our most free. However fucked our world may appear it’s the only one we have.” ‘Hurricane’ introduces an EP themed around ideas of nature, community, and the idea that going back to your roots – or, a prophet-like talking crocodile – can provide a way to move forward.
‘Hurricane’ is typically-ambitious statement from Drones Club, a band whose wider ambitions nonetheless feel far from typical. Their early gigs have been described as part-way between a religious ceremony and a political rally, featuring masked dancers in the crowd, hand-out literature, thick layers of smoke and blinding strobes. They have played surprise, guerrilla shows ranging from the Conservative Party conference (offering out lambs’ hearts to a government they feel fundamentally lacks one at its centre) to storming London Underground and London Fashion Week. It’s this spirit of activism which has always been shot through Drones Club, and is fundamentally empathetic: November’s collaborative single with Georgia, ‘Chelsea Girl’, was written in tribute to (and with proceeds going towards) Chelsea Manning, later pardoned by outgoing-President Obama.
Drones Club’s new EP, ‘White Crocodile’, is wider in scope yet also suggests a growing sense of focus for the London collective. First formed out of the desire to reconnect people in a low-attention economy, they still favour a model that’s collaborative rather than competitive: think the conceptual hijinks of Bill Drummond, the mock-corporate organisational structures of Devo, or the situationist ideas of ZTT and transplant it onto ultra-contemporary pop song writing and production. In 2017, Drones Club are growing an inclusive, idiosyncratic world where anything is possible and anyone is welcome – put out your hands and join the club.
‘Nineteen Hundred and Eighty Five’ has taken the world by surprise in 2016. The record that brought Paul McCartney fame in the 1970s, reincarnated by Timo Maas and James Teej has now been reworked by the enigmatic production forces of Kerri Chandler, Paul Woolford and Tim Green for Virgin Records.
It was April this year when the mysterious white labels first appeared in select record stores and NME broke news of “the origins of a mysterious house remix of Paul McCartney,” Rolling Stone featured a rare dance record that has been “transformed into a club piece with the approval of Macca”. An instant classic, it was then hailed by Billboard to have “captured the imagination of music fans”.
Paul Woolford has been known under many aliases throughout his illustrious career as a dance music DJ and producer, such as the ground-breaking Special Request and Bobby Peru. But none are as renowned as his birth-name, with which he propels ‘Nineteen Hundred and Eighty Five’ to new heights, elasticating its frequencies to an epic ten minute sound odyssey.
Check out Paul Woolford’s remix:
Following the announcement of their new single ‘UnYoung’ and the unveiling of the gritty, urban-set video, London-based five-piece Nimmo unveil a new remix from Paul Woolford aka Special Request, who turns it into “a piano house belter” (THUMP).
Produced by Boxed In (Oli Bayston), ‘UnYoung’ is a taut, nocturnal take on hedonistic dance, channelling Nimmo’s natural energy as a live-band into their most infectious work to date. Lyrically, the band describe ‘UnYoung’ as “a song about the fear of our parents or loved ones in general dying, and only being remembered in photographs on a mantelpiece. As the instrumentation progressed, ‘UnYoung’ became a celebration of your family and just being alive.”
We’ve already heard John Talabot’s excellent ‘Loud Synths Reconstruction‘ of “Loud Places”, featuring his fellow the xx bandmate Romy Madley Croft. The London producer has released a remix EP, featuring five reinterpretations by the likes of John Talabot, Tessela, Barnt, Matthew Herbert and Special Request (aka Paul Woolford) under his guise. Still waiting for Talabot’s great dub version to come out..
The EP is out now digitally on Young Turks, with a physical edition to come out in October. Buy it here.
Paul Woolford has shared his new video for his huge hit Untitled (Call Out Your Name). The single is out on March 9 on Relentless Records, backed with remixes by Scuba and Deetron, which can be streamed below.
Surahn “Wonderful" (Aeroplane & Miami Horror Remixes)
At tail end of 2012 DFA released an incredible debut EP by singer songwriter producer genius Surahn, also a member of The Swiss & band member in Empire of the Sun. We followed that EP with a slam dunk remix of "Watching The World” from Prins Thomas, and now DFA & Surahn have 2 more to share – Aeroplane & Miami Horror. Both remixes succeedwonderfully in translating Surahn’s soulful pop single “Wonderful” into 2 bright & blissful bangers.
Shit Robot “We Got A Love” (Paul Woolford Remix & Dub)
The creative partnership of Marcus Lambkin aka Shit Robot & Reggie Watts yielded "We Got A Love” one of the wonkiest house singles DFA has released. When we asked DFA remixing alumni Paul Woolford to have a crack at the tune, we had no idea Paul & his Special Deliveryproject would take off in such a major way. Either way, he strips and flips the rubbery soul of it into something leaner – and does very nuanced work to a special track. Both the vocal and dub are worth trying out, perhaps back to back?
The Juan Maclean “Feel Like Movin’” (Leon Vynehall Remix)
Feel Like Movin’ was named Best New Track by Pitchfork. This officially makes it relevant and "critically acclaimed” so we won’t spend any more time except to say it is the best song made by anyone ever and includes Nancy Whang on vocals. The remixing duties of this went to the capable and English hands of “overnight sensation” Leon Vynehall who turned in a sensational remix virtually overnight. As many have already brought to our attention, the remixing “rules”. It does.