Kieran Press-Reynolds on how "the recent explosion of remixing — from sped-up edits and nu-SoundClown mashups to fanmade bootlegs — is rewiring the way we create and consume music in both thrilling and unnerving ways". At No Bells blogzine.
"It’s hard to deny the wild thrill of tempo-twisted remixes, and it’s cool to see them gain wider appreciation. The appeal of shifting the speed up is the way it gives a song a pleasurably tickly feeling, or injects the vocalist with a burst of frantic energy. Lowering it can give music a dirge-like melancholy and a cinematic main-character tint. Add reverb to the slowness and you have a perfect recipe for vaporous psychedelia. At best, these remixes are helping explode the genre conventions that prevail in radio-ready music. Popular indie country is being remade into gloriously deranged flutters of squeaks; Mainstream R&B and pop are combusting into inhuman blazes of twitchy yearning."
"There’s an empty, formulaic quality to some of these mashups, where they feel like bait engineered for viral traction. I can see a future where labels hire mashup makers to produce in-house SoundClowns... So many mashups are low-effort, and the heap of fast/slow remixes and other online styles... forms something like a giant musical landfill, the cultural equivalent of a black hole, into which we’re pouring all our attention and killed time."