Papua New Guinea Translations
A founding stone of contemporary dance music, Future Sound of London's 'Papua New Guinea' will be familiar to everyone - whether it be in the middle of a muddy field at 4am in the morning or accompanying Changing Rooms on TV, it's pretty ubiquitous. Pleasing in a very base way, 'Papua New Guinea' and it's swirling clouds of synth, celestial choirs and wistful flute can't help but please on a variety of levels. Deciding that there's room for a whole albums worth of reinterpretations, this set of translations kicks off with the original 12" version and still manages to sound far more appealing than it has any right to - with all the bits that made it appealing way-back-when still intact. Treating their source material with evident reverence, the remaining seven pieces are all spliced and diced by FSOL themselves - ranging in style from slick jazz grooves on 'The Lovers', euphoric grandstanding on 'Papsico' and the prog-rock broil of 'Wooden Ships'. Lobbing a dancefloor belter into the mix (the breakbeat business of 'Great Marmalade Mama In The Sky'), the whole thing is a little self-indulgent but will please those with a real soft-spot for FSOL.
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A founding stone of contemporary dance music, Future Sound of London's 'Papua New Guinea' will be familiar to everyone - whether it be in the middle of a muddy field at 4am in the morning or accompanying Changing Rooms on TV, it's pretty ubiquitous. Pleasing in a very base way, 'Papua New Guinea' and it's swirling clouds of synth, celestial choirs and wistful flute can't help but please on a variety of levels. Deciding that there's room for a whole albums worth of reinterpretations, this set of translations kicks off with the original 12" version and still manages to sound far more appealing than it has any right to - with all the bits that made it appealing way-back-when still intact. Treating their source material with evident reverence, the remaining seven pieces are all spliced and diced by FSOL themselves - ranging in style from slick jazz grooves on 'The Lovers', euphoric grandstanding on 'Papsico' and the prog-rock broil of 'Wooden Ships'. Lobbing a dancefloor belter into the mix (the breakbeat business of 'Great Marmalade Mama In The Sky'), the whole thing is a little self-indulgent but will please those with a real soft-spot for FSOL.
A founding stone of contemporary dance music, Future Sound of London's 'Papua New Guinea' will be familiar to everyone - whether it be in the middle of a muddy field at 4am in the morning or accompanying Changing Rooms on TV, it's pretty ubiquitous. Pleasing in a very base way, 'Papua New Guinea' and it's swirling clouds of synth, celestial choirs and wistful flute can't help but please on a variety of levels. Deciding that there's room for a whole albums worth of reinterpretations, this set of translations kicks off with the original 12" version and still manages to sound far more appealing than it has any right to - with all the bits that made it appealing way-back-when still intact. Treating their source material with evident reverence, the remaining seven pieces are all spliced and diced by FSOL themselves - ranging in style from slick jazz grooves on 'The Lovers', euphoric grandstanding on 'Papsico' and the prog-rock broil of 'Wooden Ships'. Lobbing a dancefloor belter into the mix (the breakbeat business of 'Great Marmalade Mama In The Sky'), the whole thing is a little self-indulgent but will please those with a real soft-spot for FSOL.