Saturday, October 24, 2009

Burial to Remix Massive Attack.. The Guardian Article

The next dubstep ... Burial is to work his dark mojo on Massive Attack's material. Photograph: Hamish Brown

Massive Attack might be putting the finishing touches to their new album, featuring Damon Albarn, Martina Topley-Bird and Elbow's Guy Garvey, but they also have another project in store. The Bristol duo are in talks with Mercury-nominated mystery man Burial, who is preparing some dubstep remixes of their music.

"We've been listening to a lot of the stuff that [Burial] does and he's just amazing," Daddy G told Clash Music. "The way he does his layers, his drums and stuff like that. The dubstep thing is amazing, there's a lot of really good people there – Kode9 is great as well. These kids are just amazing and we want to be part of that."

Though there is "no timeframe" for Burial's project, he has been given several songs from Massive Attack's forthcoming album. "[He] brings out a different version of quite a lot of the tracks that we've done," said Daddy G. The plan is for a Burial record in line with Mad Professor's 1995 release, No Protection, which remixed the Massive Attack album, Protection.

Meanwhile, Daddy G and 3D are finishing their fifth album, with the working title False Flags. Besides Albarn, Garvey and Topley-Bird, other guests include Mazzy Star's Hope Sandoval, TV On the Radio's Tunde Adebimpe and DFA producer Tim Goldsworthy. Though samples of this work appear on the group's new EP, Splitting the Atom, False Flags is intended to be a cohesive whole and not a compilation record.

"Since I was a kid, my mum use to dance me around to Sgt Pepper and Abbey Road, and I've had that in my head for years – the concept of the whole album, what it means," 3D told AOL's Spinner. "At the same time, I'm just as insane as the next person, splitting tracks and playlisting, making mixtapes in the old DJ days. That said, the new album feels like a complete album that comes from a time and place."

"The philosophy on this record has been to keep it stark and simple, where [2003's] 100th Window was complex and intricate ... Working with so many people, it was a real challenge to try and make the record feel like a singular work."

This Post is from the Guardian.

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