We've been on our travels a lot of late, both geographically and phonically, and today this post brings us to Spaniard Alvaro Suarez and his edit of Dead Can Dance's Yulunga.
Usually, a Suarez tune ticks to a steady, distinct high hat that's coupled with screeching celestial strings, remembering the days of his alias Alvaro Takt, however his edit of Dead Can Dance's Yulunga is somewhat different. We love a good documentary score and lately I've been listening to a lot of Max Richter (A Nature of Daylight), Armand Amar (Human) and whatnot and have hoped to one day produce an ambient version of some of their greats, and this one sets the benchmark pretty high.
Dead Can Dance's 1993 original is the perfect thing to meditate to really. While the Oz group's version is a slowed, marauding masterpiece fit for an Attenborough doc's ending scene, Suarez picks up the pace with a plummeting bass line throb that instils a the same ambience yet with a techno tweak attuned to any twilight vista. The bass isn't too dissimilar that in Iain Howie's Trees, the penultimate track in my A Foreseen Future Mix and a Damdon favourite at the mo.
The track starts out in a mellow, tranquil tone which builds to a vocal high via the beat of tribal toms. Suarez's use of percussion is particularly striking in this track, considering the original is practically beatless - we're taken on a journey of ambience and into another world through a blend of maracas, claves and organic sounds. Like many walks of life, it's hard to know what's real and what's synthetic. Out of this world really, don't you think?
Feel free to share your favourite documentary scores - or better, your edits. We're always looking for more.
P.S - Suarez is actually playing this weekend in his adopted home town of Københaven at an event called Folkets Haus Birthday Rave, Ungdomshuset, And better yet, it's free before 9pm (40 KR afterwards). We'd 100% be going for sure if we could, but flights from Dam are pretty steep.