I noticed Australian artist Aria Taylor when Aria produced her first single
* Friday Feeling * – which appeared to have a distinctive sound in the style of Ke$ha. I was surprised to learn, bearing in mind the quality of the work, that Aria was a teen and still at school at the time. Nevertheless Aria’s performance was truly outstanding and, as well as longing to remix her work, I assisted her to some extent in getting the word out there.
I’m not a stranger to remixing; but this is my first full professional effort at a proper remix – the first one which I consider fully ‘sales-worthy’: Back in 2012 I remixed a couple of Becky Hill’s tracks before she was famous, and also remixed a few other artist’s tracks; including French artist Uffie’s * F1rst Love *. (My 2013 single * Deejay (Remix) * doesn’t really count, because it was a remix of a pre-production draft.)
This tune started life as Aria Taylor’s latest single at date of writing. I spent quite a lot of time and effort remixing the piece; which was actually more difficult to accomplish, and it took rather longer than I thought it would take. – All the same I’d promised her a club mix, and a club mix she would have, come Hell or high water. After four drafts; the first three of which I binned, and the fourth of which I would have passed except for too much across-the-board compression on the final edit, I decided the mix was good enough to go for print.
Shortly afterwards I sent off a final draft to Aria Taylor for her approval. Aria was overjoyed, and almost immediately gave me the go-ahead.
The 7 minutes and 28 seconds of mainly extended lightly-compressed throbbing dance beat with a bridge starting at 1:55 in the first half of the composition, is punctuated in places by interspersions from Aria’s tuneful melodic vocal chords providing the lyrical pieces. At around 2:30, before the end of the first bridge, a siren wails for the first time and carries the bridge into a vocalised section, followed by an instrumental sequence – accompanied primarily by a second wailing siren and then accompanied by the blended harmony of a US train siren in the near-background.
During the second half of the piece, following the second vocalised bridge between 3:56 and 4:27 – another siren wails twice, yet again bringing the tune into a this time extended instrumental section – complete with musical sound effects and enhancements – starting at 4:57 and extending right up to 6:44, that is totally dedicated to dance with a clubland scene in mind. Aria’s voice then chorally leads us for 8 bars to the fade.
This track is perfect for the club scene and is a dynamic dance powerhouse which screams at the listener to get on the dance floor and move to the music.
In remixing this piece I’ve tried to do justice to someone who is, all things considered, a totally exceptional young artist – with a huge prospective career ahead of her. Whilst I didn’t want this track to sound too much exactly like the original; I didn’t want to detract from the original to a huge extent either. That left me with the dilemma of creating a remix without doing too much remixing but it still sounding like a remix.
As well as a lot of other accomplishments I’ve extended the instrumental sections in places to make the track more dance-centric, whilst also enhancing Aria’s voice in places with extra choral resonance. I pumped the bass up to an extent pretty much throughout, and then squashed it a bit with extra compression while partially squelching out some of the >5.1KHz frequencies which don’t lend themselves to the overall tonal quality of a remix.
At the end of the day, ladies and gentlemen, my aim was to provide you with a mix that would get you out on the dance floors and help to set the club on fire. With that in mind I present my remix, the Sharron-Idol Extended Extacy Remixx, of Aria Taylor’s song * The Winning Hand *.
Peace. – X
- The lyrics remain the copyrighted property of Aria Taylor, and so for logistical reasons I will not be publishing a lyrics sheet for this release.
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