This is the first time I've asked anyone to 'remix' my solo tracks -- they're so far from anything one would traditionally 'remix' that it was hard to imagine what people would do; but the people I asked were very willing, so it felt worthwhile pressing ahead to see what happened.
What happened was that people took these very minimal, arhythmic pieces and worked their way deep inside of them.
I'm really happy that what came out feels like something essential to the original record – sounds, feelings, spaces are taken out of the context of the pieces and given their own stage.
David Moré's two pieces, especially, feel like they were dragged from the depths of their source material to highlight aspects of the sound and recording that might feel only tangential in the original; SPRING locate the tumult in the oppressive serenity of Witch; M. John Henry verbalises the yearning in Come Home; the pieces by T. Vostok, RTFCL PRSN, LADYfingers and tom dissonance are more traditionally 'transformative'; and Fritz Welch adds vocalisations, recorded in a disused grain silo in central Minnesota, to the drones and rumbles of Witch and A House for Dogs.
All proceeds from The Vallum (Mixes) go to Medical Aid for Palestinians. Endless thanks to everyone who participated.
Credits
Artwork by Fritz Welch, 2025, based on drawings made in response to The Vallum.