Record Label: One Little Indian
Includes remixes by Death Grips, Hudson Mohawke, Alva Noto, Matthew Herbert, Omar Souleyman, Current Value, These New Puritans and more.
One Little Indian presents Bastards, an album of remixed tracks from Björk's 2011 album Biophilia. Bastard includes some of the remixes released by Björk in an eight-part series in 2012, remastered for this album by Grammy-nominee Mandy Parnell. The 13-song set features collaborations with artists and producers specifically chosen by Björk including Current Value, Death Grips, Hudson Mohawke, Alva Noto, Matthew Herbert, Omar Souleyman, 16-bit, These New Puritans, and The Slips.
The original Biophilia album was released in 2011 to critical acclaim. The New York Times raved, "the new songs juxtapose hovering textures of choir and organ with sparse pointillism and sudden eruptions of breakbeat drumming, all set against Björk's idiosyncratic melodies: pithy or sustained, pausing unexpectedly and then snaking upward and opening out to a banshee wail."
"I felt it important to gather together the essence of the remixes," explains Björk of the project, "so I picked a quarter of them for one (release) for people who are perhaps not too sassy downloaders or don't have the time or energy to partake in the hunter-gathering rituals of the internet. I was incredibly impressed by how the core of the mixes took Biophilia somewhere else while still keeping its character, and like so often do when at their best; the remixes gave the songs more beats; legs to dance on! I spent some time editing together not necessarily the best ones but the ones that made the strongest whole."
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
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