Carl Stone
We Jazz Reworks, Vol. 2
Boomkat Product Review:
Innovative turntablist, minimalist and electronic music pioneer Carl Stone fragments a handful of records from the We Jazz catalog on this impressively freeform set of stuttering granules and textures. Imagine Christian Fennesz and Jon Hassell let loose on the Supersilent discography and you'll have an idea...
Finnish label We Jazz struck on an interesting way to repurpose their back catalogue - inviting a producer to remix the albums, with each artist taking ten at a time. The first was Finnish producer Kaukolampi, and now they've brought in the legendary Carl Stone, who tackles We Jazz LPs 11 through 20, including music from Terkel Nørgaard, OK:KO, 3TM, and Jonah Parzen-Johnson. Whether you're familiar with the original material or not, it's worth hearing how Stone approaches the process. He admits he was challenged by being presented by so much musical information, but intuitively experimented with various methods to produce a suite of interconnected but very different tracks. Each one uses a different method, something he developed during a period of what Stone describes as "just playing, the way a child plays with toys."
This playfulness allows Stone's tracks to sound more like improvisations or freewheeling experiments than painstaking patchworks or buttoned-up remixes. The sound-collage motifs we heard on "Wat Dong Moon Lek" and its recent predecessors are central to his processes, but feel more muted applied to jazz mixdowns. While 2020's "Stolen Car" was a raucous clutter of hiccuping vocals and whirly-gig electronic percussion, on this set he uses repetition to pick out nuance in the source instrumentation. It's not a million miles away from what we'd imagine a Vladislav Delay mix of Carl Craig & Moritz von Oswald's "ReComposed" might sound.
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Boomkat Product Review:
Innovative turntablist, minimalist and electronic music pioneer Carl Stone fragments a handful of records from the We Jazz catalog on this impressively freeform set of stuttering granules and textures. Imagine Christian Fennesz and Jon Hassell let loose on the Supersilent discography and you'll have an idea...
Finnish label We Jazz struck on an interesting way to repurpose their back catalogue - inviting a producer to remix the albums, with each artist taking ten at a time. The first was Finnish producer Kaukolampi, and now they've brought in the legendary Carl Stone, who tackles We Jazz LPs 11 through 20, including music from Terkel Nørgaard, OK:KO, 3TM, and Jonah Parzen-Johnson. Whether you're familiar with the original material or not, it's worth hearing how Stone approaches the process. He admits he was challenged by being presented by so much musical information, but intuitively experimented with various methods to produce a suite of interconnected but very different tracks. Each one uses a different method, something he developed during a period of what Stone describes as "just playing, the way a child plays with toys."
This playfulness allows Stone's tracks to sound more like improvisations or freewheeling experiments than painstaking patchworks or buttoned-up remixes. The sound-collage motifs we heard on "Wat Dong Moon Lek" and its recent predecessors are central to his processes, but feel more muted applied to jazz mixdowns. While 2020's "Stolen Car" was a raucous clutter of hiccuping vocals and whirly-gig electronic percussion, on this set he uses repetition to pick out nuance in the source instrumentation. It's not a million miles away from what we'd imagine a Vladislav Delay mix of Carl Craig & Moritz von Oswald's "ReComposed" might sound.
Boomkat Product Review:
Innovative turntablist, minimalist and electronic music pioneer Carl Stone fragments a handful of records from the We Jazz catalog on this impressively freeform set of stuttering granules and textures. Imagine Christian Fennesz and Jon Hassell let loose on the Supersilent discography and you'll have an idea...
Finnish label We Jazz struck on an interesting way to repurpose their back catalogue - inviting a producer to remix the albums, with each artist taking ten at a time. The first was Finnish producer Kaukolampi, and now they've brought in the legendary Carl Stone, who tackles We Jazz LPs 11 through 20, including music from Terkel Nørgaard, OK:KO, 3TM, and Jonah Parzen-Johnson. Whether you're familiar with the original material or not, it's worth hearing how Stone approaches the process. He admits he was challenged by being presented by so much musical information, but intuitively experimented with various methods to produce a suite of interconnected but very different tracks. Each one uses a different method, something he developed during a period of what Stone describes as "just playing, the way a child plays with toys."
This playfulness allows Stone's tracks to sound more like improvisations or freewheeling experiments than painstaking patchworks or buttoned-up remixes. The sound-collage motifs we heard on "Wat Dong Moon Lek" and its recent predecessors are central to his processes, but feel more muted applied to jazz mixdowns. While 2020's "Stolen Car" was a raucous clutter of hiccuping vocals and whirly-gig electronic percussion, on this set he uses repetition to pick out nuance in the source instrumentation. It's not a million miles away from what we'd imagine a Vladislav Delay mix of Carl Craig & Moritz von Oswald's "ReComposed" might sound.
Boomkat Product Review:
Innovative turntablist, minimalist and electronic music pioneer Carl Stone fragments a handful of records from the We Jazz catalog on this impressively freeform set of stuttering granules and textures. Imagine Christian Fennesz and Jon Hassell let loose on the Supersilent discography and you'll have an idea...
Finnish label We Jazz struck on an interesting way to repurpose their back catalogue - inviting a producer to remix the albums, with each artist taking ten at a time. The first was Finnish producer Kaukolampi, and now they've brought in the legendary Carl Stone, who tackles We Jazz LPs 11 through 20, including music from Terkel Nørgaard, OK:KO, 3TM, and Jonah Parzen-Johnson. Whether you're familiar with the original material or not, it's worth hearing how Stone approaches the process. He admits he was challenged by being presented by so much musical information, but intuitively experimented with various methods to produce a suite of interconnected but very different tracks. Each one uses a different method, something he developed during a period of what Stone describes as "just playing, the way a child plays with toys."
This playfulness allows Stone's tracks to sound more like improvisations or freewheeling experiments than painstaking patchworks or buttoned-up remixes. The sound-collage motifs we heard on "Wat Dong Moon Lek" and its recent predecessors are central to his processes, but feel more muted applied to jazz mixdowns. While 2020's "Stolen Car" was a raucous clutter of hiccuping vocals and whirly-gig electronic percussion, on this set he uses repetition to pick out nuance in the source instrumentation. It's not a million miles away from what we'd imagine a Vladislav Delay mix of Carl Craig & Moritz von Oswald's "ReComposed" might sound.
Curacao blue transparent vinyl, inside out sleeve, obi w/ liner notes, printed inner sleeve.
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Boomkat Product Review:
Innovative turntablist, minimalist and electronic music pioneer Carl Stone fragments a handful of records from the We Jazz catalog on this impressively freeform set of stuttering granules and textures. Imagine Christian Fennesz and Jon Hassell let loose on the Supersilent discography and you'll have an idea...
Finnish label We Jazz struck on an interesting way to repurpose their back catalogue - inviting a producer to remix the albums, with each artist taking ten at a time. The first was Finnish producer Kaukolampi, and now they've brought in the legendary Carl Stone, who tackles We Jazz LPs 11 through 20, including music from Terkel Nørgaard, OK:KO, 3TM, and Jonah Parzen-Johnson. Whether you're familiar with the original material or not, it's worth hearing how Stone approaches the process. He admits he was challenged by being presented by so much musical information, but intuitively experimented with various methods to produce a suite of interconnected but very different tracks. Each one uses a different method, something he developed during a period of what Stone describes as "just playing, the way a child plays with toys."
This playfulness allows Stone's tracks to sound more like improvisations or freewheeling experiments than painstaking patchworks or buttoned-up remixes. The sound-collage motifs we heard on "Wat Dong Moon Lek" and its recent predecessors are central to his processes, but feel more muted applied to jazz mixdowns. While 2020's "Stolen Car" was a raucous clutter of hiccuping vocals and whirly-gig electronic percussion, on this set he uses repetition to pick out nuance in the source instrumentation. It's not a million miles away from what we'd imagine a Vladislav Delay mix of Carl Craig & Moritz von Oswald's "ReComposed" might sound.
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