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During the 1990s, house and techno pioneer Moby inspired dance music’s collective consciousness in part by one of his most seminal releases, “Go.” The track sees Moby – also known as Richard Melville Hall – remix the B-side to his debut single “Mobility” by layering “Laura Palmer’s Theme” from David Lynch’s Twin Peaks over the original tune.
“Go” became one of Moby’s most widely celebrated releases, charting on the British Top Ten and showing Moby’s potential to shape the future of dance music. In his recently released memoir Porcelain, Moby dedicates an entire chapter to “Go,” which played a major role in his ability to popularize the dance music genre from 1989-1999.
Via a new initiative dubbed the Black Lacquer Remix Project, Moby calls on 40 of today’s most sought after producers to reimagine four of his key releases, “Go” “Porcelain,” “Why Does My Heart,” and “Natural Blues.” The project taps artists including Hardwell, Sander van Doorn, HI-LO and now Loco Dice to pay homage to the art of remixing by imparting modern spins on one of four rave classics.
In a collision of two legendary acts, Loco Dice answers Moby’s call with two remixes of “Go,” out on his own label Desolat. The two remixes embody Dice’s minimalistic house tastes cultivated across his decade long residency in his hometown of Düsseldorf, and during his 2002-2006 residency at DC-10 in Ibiza. The Tunisia-born, Germany-raised artist is a tastemaker for the next generation of dance music, imparting his global influences on both Desolat and on his artist agency Artists Alife.
Because Loco Dice began his musical journey in the 90s, the artist imparts a unique perspective on his remix of “Go.” Read about Loco Dice’s creative process below:
No, not yet, but it’s on the pile of books that are next to be read.
Are you familiar with the Black Lacquer Remix Project?
Yes, I am familiar with the Black Lacquer Project. It’s about Moby opening his back catalogue to remixes. If I’m not wrong, there are four tracks: ‘Go,’ ‘Porcelain,’ ‘Why Does My Heart’ and ‘Natural Blues.’
What does Moby mean to you?
Moby is an icon. He went a long way from an underground artist to someone who made dance music accessible to the masses, while staying true to himself.
What does this track mean to you? Why did you choose this track?
I picked ‘Go,’ a well known track. Everyone knows it, and it’s actually perfect. But I thought about how ‘Go’ would sound if I combined it with something that I associate with New York: a certain house sound with big rolling drums that appeared a few years after Go. I tried to imagine if the tack would sound different if it was released in 94-95 – but of course, from my perspective today. That was the basic idea of my approach.
Any tips for up and coming producers on the art of remixing?
Try to find the essence of the track, parts and moments that inspire you to experiment and interpret. Be honest, and the your remix will be right. But the bottom line is: there are no tips. The moment when an artist gives their track free for a remix, there are no boundaries for the remixer. You are free to do your thing.
What about “Go” makes it so iconic? Is it attached to any memories for you?
‘Go’ perfectly captures the vibrant vibe of that era – excitement and a fusion of dance music styles. Around that time I was a hip hop kid, and through Massive Attack I discovered the UK sound, like breakbeats. ‘Go’ entered my life a little later and what shocked me were the beats, I could relate to it. When we talked about rave, ‘Go’ was how I imagined it. It was one of the first ‘rave’ tracks that I noticed back then in my hip hop days.
Describe your creative process for this remix. How long did it take to create, and where were you when you made it?
When I received the proposal to pick one of the tracks, it was clear that it was going to be ‘Go.’ The main part of the creative process was that I already had the vision of the early 90s NY idea of how it could have been at that time. The rest went pretty smooth in my studio, because I knew what I wanted to do.
How does it differ from other remixes you’ve done?
Every remix has its own story, its unique mood, and is made in a certain time of my life.
If Moby were to remix one of your songs, which one would you want him to remix?
If Moby were to remix one of my songs, I’d want him to remix ‘Seeing Through Shadows.’
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