Max Tundra – Spotify for Artists on how to extend album life with a remix EP

March 2018 2018, 90s teen-pop alum Daphne and Celeste Released their first album in 18 years-and it was one of the alt-pop victories of the decade. Save the World in Daphne and Celeste A thrilling record, filled with velcro-trimmed hooks, observations focused on twenty-first century culture, and details of the headphone listening rewards. Produced by London-based Ben Jacobs, aka Max Tundra, Save the World in Daphne and Celeste Bright words from the future.

Daphne & amp;  Celeste, portrait of Abram Seaman

In Daphne and Celeste, pictures of Abram Seaman

In September of this year, Max Tundra was released Sunny day EP, which is complementary There are five more versions of Save the World * with a sparkling dance-pop cut, including a Starlit piano version sung by Daphne and Celeste in Japanese and played by a Canadian Grammy winner and piano master. Chile Gonzalez. We emailed Tundra about joining forces with Dufen and Celeste and keeping * Save the World In pop consciousness through the power of remixes.

Spotify for Artists: Can you give our readers a little background? Save the World in Daphne and Celeste? How did you come to work with them?

Max Tundra: I originally contacted Daphne and Celeste on Twitter in 2011 and said, “I make weird pop music. It would be fun for both of you to write and produce a comeback single.” Celesti sent me a message saying, “It sounds red!” And the ball keeps rolling. I sent some of my music, such as “No song”(From The parallax error beheads you) And “Lysine”(From Master by Guy in Exchange), As well as a bunch of my remixes, for which I created Pet shop boys, Miss Elliott, The Futureheads, And Franz Ferdinand. They weren’t too weird by my words and were too much to make a track. After recording and release “You and I are alone“Especially in my Lebas Balatonic, set for my own production, we decided it would be fun to go ahead and make a complete album. Save the World in Daphne and Celeste The result was a huge honor to work with these incredible people.

How did you decide to turn “Sunny Day” into an EP?

“Sunny Day” is probably the most popular song I’ve ever written – I’m so proud of it and wanted to hear as many people as possible. I decided that focusing a release around the remix would bring the track to an audience that wouldn’t normally hear Daphne & Celeste or Max Tundra, i.e. the fanbase of the remixers in question.

What was the first alternative version to come together?

I think the first thing I got back was Dutch uncle One. It’s an ace. I’m a big fan of this innovative, delightful band. I basically remixed their tracks “Flexoxin“In 2013, so they got grace back with their fantastic reconstruction.

Daphne & amp;  Celeste with Max Tundra, photo by Nathalie Taylor

Pictures of Nathalie Taylor in Daphne and Celeste with Max Tundra

How did you communicate with collaborators? Were they the people you worked with before?

Each was a little different. Chile Gonzalez emailed me from Blue when I was considering remixers. A few years ago I remixed her track “You Can Dance” and “Fee” was that at some point in the future she would be my “Piano Slave”. We both forgot about it, so accepting his note at the time was contemporary. He re-interpreted the track as a beautiful, mournful single piano. Sparkle Contacted me on Twitter and said they would love to go. They’re a relatively unknown band from Bristol, whose music is completely different from my own, so I was curious and excited to hear how they would twist and contrast “Sunny Day”. They made us proud with their terrifying, epic remakes of the track. And then I thought I’d take the track to disco-finding myself, so there’s also an extended version of the Max Tundra. Stay with us for the confusing Sugar-Rush & Section.

Why did you decide to do the Japanese version of “Sunny Day”? When was it put together?

I always thought Daphne and Celeste could do well in Japan. I have visited that incredible country about seven times and had an unforgettable experience playing countless shows there. I was reminded of that 90s pop duo Shampoo He had moderate success in the country, and it was speculated that it would not be a very bizarre idea for this other pop duo to achieve similar. To that end, I asked a Japanese friend to translate the song, and we re-recorded the voice one evening during a tour of the UK last year. Consider Karen [Daphne] And Celeste had never spoken Japanese before, they absolutely nailed it. Dan Hate was very talented A beautiful video for the track, Which takes place in an entertainment arch where D&C appears on a dance play screen.

What advice would you give to artists who want to spread their albums on EPs?

Let’s go! That is, don’t be too secure about your song. This is an opportunity to live and breathe outside the ecosystem of your track LP, seen in a different light. I always valued something about my own composition, so it was free to let others get their hands on them and bend them into irrational, fresh shapes. I mean, it’s all good and good if you remember a remix EP. Another classic route is to share your single lead track with some unpublished work, or a demo version of the song. With the Max Tundra Back Catalog, all single / EP B-sides are unique tracks that are unavailable elsewhere and don’t fit perfectly into any of my LPs.

What other projects are you working on in the meantime? Are you getting anything out soon?

I’m slowly working on my fourth Max Tundra album. In addition, I want to enter the world of soundtracks and reach out to producers and directors with the hope that one day I will be able to write songs for some not-so-released cinematic (or Netflix-based) masterpieces. The next single from Daphne and Celeste positions Save the World in Daphne and Celeste A wonderful, almost horrible remix of Dear English Visual Artist whose name I can’t reveal yet. He has worked on his magic and also made a video, as well as artwork for an ultra-limited cassette version. I can’t wait to hear from you all.

– Maura Johnston

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