CO-WROTE WITH JOSH D’ELIA
OF STORY OF THE RUNNING WOLF.
As you age, you realize it isn’t about an all-access pass to youth. You’ll wish 20 year olds were, like, nowhere near you. Yeah, you will. I already do. All that anxiety, unassuredness uttered from lips that shake and tremble and want to kiss every whim that whispers through their mind. Wonder to be seen, no doubt, whirling in the wind. It isn’t wanting in beauty. But, dude. I already whimpered, walked and wailed my way through that way of being. Yeah, no. Eventually it dawns on you that your inner dancer’s dynamism isn’t tied to staying young, but not being unyoung. Kickass living is about being transversal. Intersecting lines everyone eventually sees as boxes that box you in. With sexy aplomb, even when you smash your skull on some sea of sadness and suck. Being unyoung is staying dirty as everyone cleans up, sharpens their image.
Check out the production choices in Nimmo’s original and Lone’s remix. Disparate dynamics in the energy, urgency and approach of each track play out these two ways of being young and (not) unyoung. Nimmo’s original is ensconced with the modern era. Clean and dancey-production, innervated with nervous energy and an anthemic cry is the calling card of a modern pop song. Lone’s remix is divergent. Old school house beats populate the production here, providing a live/dirty energy that hearkens back to most innovative aspects of multiple eras of music. At the same time Detroit beats copulate with synths bells and either analog synths or a modern VST (don’t quote us here, we’re just using our ear!) to bring high mindedness and novelty to the same major/minor 7th chord patterns you can hear in nearly every house track imaginable. Lone is saying intimacy doesn’t breed contempt. Once you know your chord structures, you can turn them into a backbone that allows you to carry you (yes, you and all the wonder that makes you!) to any decade. 2020 or 1970. Lone’s production is timeless because you are timeless. Still it’s rich with history.
Bravado busts out all over Lone’s remix. Nimmo’s original can’t really do that, which isn’t a blemish. Lone can glitch out because he knows damn well who he is. Nimmo is a new convert from the unsure, his track a clarion call for others to get on board with him. Nowhere clearer is that than in the chorus of each track. How do they each use their production to bridge their stanzas? Nimmo hinges on hyperventilation, coasts on tightly wound anxiety to get your mood to ascend and descend. And Lone? Well his production obliterated the lyrical structure of the original at the outset, but high strings, brassy synth stabs and staccato horns sound like punches in the sky.