{"id":370,"date":"2023-10-17T14:24:21","date_gmt":"2023-10-17T14:24:21","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2023-10-17-this-is-why-remixes-exist\/"},"modified":"2023-10-17T14:24:21","modified_gmt":"2023-10-17T14:24:21","slug":"2023-10-17-this-is-why-remixes-exist","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2023-10-17-this-is-why-remixes-exist\/","title":{"rendered":"\u201cThis Is Why\u201d Remixes Exist"},"content":{"rendered":"
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Graphic by Monika Krueger<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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By Serenity Holland<\/h1>\n

Paramore released their sixth studio album, This Is Why<\/em>, earlier this year. Now, eight months later, they\u2019ve gifted their fans a new way to experience these songs with the release of Re: This Is Why<\/em>. The remixes feature eleven different artists across each track. All of the artists take creative liberties on this record, either completely distorting the track or adding something unexpected to it. <\/p>\n

Here are five songs from Re: This Is Why<\/em> that (I believe) bring their original songs the most justice.<\/p>\n

5. \u201cThe News (Re: The Linda Lindas)\u201d<\/h1>\n

Original<\/strong><\/p>\n

This track\u2019s sound is filled by the rage of a moment of helplessness. Hayley Williams, frontwoman for Paramore, angrily whines the lyrics, \u201cI worry, and I give money, and I feel useless behind this computer.\u201d Written during a time when political movements were eager for justice, in the wake of the murder of George Floyd, Williams expresses the feelings that come with having limits on what you can do for a situation. The song features Taylor York on guitar and drums by Zac Farro. Their rhythms compliment each other with battle-like aggression while maintaining a strong backing of Williams. This is the kind of song that can\u2019t be appreciated without its conversational instrumentation. This cohesion is perfectly demonstrated on the track.<\/p>\n

Remix<\/strong><\/p>\n

The remixed version of \u201cThe News\u201d features The Linda Lindas: a group of four who formed as a band back in 2018. They add a greater intensity that the content of this song demands. With delicate backing harmonies through the pre-chorus, they switch up in a matter of seconds for a casual scream session in the chorus. It\u2019s as if their goal was to turn every instrument, vocal, and production technique to maximum volume placing emphasis on everything the song stands for. They did just that.<\/p>\n

4. \u201cThick Skull (Re: Julien Baker)\u201d <\/h1>\n

Original<\/strong><\/p>\n

Williams crafts \u201cThick Skull” with a heavy metaphorical throughline. Describing herself as \u201ca magnet for broken pieces\u201d she is in result, caught \u201cred-handed.\u201d It\u2019s a slower piece that gives the listener space to pay attention to the lyrics. Then, by the time you finally grasp the meaning of it, the song breaks out into what sounds like the musical equivalent of a tantrum. <\/p>\n

Remix<\/strong><\/p>\n

If Paramore hadn\u2019t released this first, you\u2019d think singer\/songwriter Julien Baker (she\/her), had written and released this herself. Baker has a voice that feels like it would break if you laid a finger on it. The fragility and rawness of these vocals aligns with the theme of the song: it’s the cycle of someone who constantly falls for broken people, suffering the consequences at the end each time. Baker brings in tortured-sounding guitar riffs, coated in distortion, while her vocals seem to give up as the song goes on. This remix is beautifully broken.<\/p>\n

3. \u201cYou First (Re: Remi Wolf)\u201d<\/h1>\n

Original<\/strong><\/p>\n

After a three stick hit and a back and forth guitar loop, revenge is born. Williams is mad and,  like a stray animal, she keeps \u201cfeeding scraps\u201d to the devil on her shoulder. Unwilling to shy away from feeling anger to its full capacity, in the catchy chorus, she explains that everyone is a bad guy. It\u2019s just a matter of who receives karma first. \u201cYou First\u201d is one of those songs where listeners are able to witness an artist come to terms with the ugly parts of themselves, weaponizing it to fuel the madness. Paramore was shameless here: \u201cNever said I wasn\u2019t petty, you can bet I don\u2019t regret it for a second,\u201d Williams sings. <\/p>\n

Remix<\/strong><\/p>\n

Remi Wolf (she\/her) was the chosen feature artist for this track and it works perfectly. The rebellious and remarkable young talent makes the remix sound like it belongs on her own album. It\u2019s a sound reminiscent of early \u20182000s sing-along music you can dance to while wearing low-waisted jeans with no remorse. It\u2019s a timeless piece that is playful and holds strong envy.<\/p>\n

2. \u201cFigure 8 (Re: Bartees Strange)\u201d<\/h1>\n

Original<\/strong><\/p>\n

With a sense of regret, Williams sings about sacrificing parts of herself for someone else’s sake. The introduction has a suspenseful and hesitant nature about it, as if what\u2019s about to be said is difficult to confront. \u201cAnd once I get going, I don\u2019t know how to stop, I don\u2019t know how to stop,\u201d she repeats in the pre-chorus. When the chorus hits, the drums become a backbone of the courage needed to finally confess what the metaphorical verses allude to. It\u2019s a powerful song for any listener to sympathize with.<\/p>\n

Remix<\/strong><\/p>\n

Bartees Strange (he\/him) is a producer and songwriter who gives this song a daunting sound. This version is slowed down and filled with dense 808s. There are subtle echoes and notes floating around until a burst of organized chaos erupts in the chorus. Towards the end, Strange breaks into an acoustic round of the chorus, including a series of runs behind the main vocal. It\u2019s as if the intention of this remix was to showcase the dimensions of betrayal; the anger, defeat and hurt that come with it.<\/p>\n

1. \u201cLiar (Re: Romy)\u201d<\/h1>\n

Original<\/strong><\/p>\n

Williams emotes in what seems to be a testimonial on \u201cLiar.\u201d The third to last track on the album is more stripped and vulnerable compared to the others. The guitar chords glide, while the drums follow in a simple pattern allowing a spotlight on the lyrics that discuss an inclination to protect against, rather than lean into love. \u201cLove is not an easy thing to admit, but I\u2019m not ashamed of it.\u201d Unlike many of the other songs on this album, it champions acceptance over inferiority to an inner-conflict.<\/p>\n

Remix<\/strong><\/p>\n

Romy, a guitarist for xx, adds a softness in the production that matches the tender sentiment of the lyrics. The remix starts with acapella, in which Romy soon joins as if to say, \u201cyou\u2019re not alone in this testament.\u201d What stands out about this version of the song is the noticeable investment from the feature artist. Romy decides to go just as deep in introspection as Williams, adding value to the song. \u201cWhat if I loved you and never said it,\u201d Romy sings. It\u2019s heartbreaking and empowering at the same time. The song is not typical to Paramore\u2019s style, but that is the point of a remix, right?<\/p>\n

Paramore knew what they were doing when they chose features for this remix album. There is so much compatibility, experimentation, and emotion tied to this project. The question is whether or not remix albums do more damage, or good to the original version of songs? Remixes celebrate the flexibility of art, multiplying the amount of people it touches. Therefore, let there be more on past, present and future bodies of work.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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