Producers Tessela and Truss (R&S, Perc Trax, Poly Kicks), also known as brothers Ed and Tom Russell, once again join forces as Overmono to remix one of the outstanding cuts from Nathan Fake’s fourth album “Providence”, recently released via Ninja Tune. Accordingly, ‘DEGREELESSNESS’ - featuring the heavily distorted vocals of Prurient - is re-imagined as a shadowy four-on-the-floor cut. “I really wanted Overmono to remix ‘DEGREELESSNESS’ as I love the way they use melody ...
Producers Tessela and Truss (R&S, Perc Trax, Poly Kicks), also known as brothers Ed and Tom Russell, once again join forces as Overmono to remix one of the outstanding cuts from Nathan Fake’s fourth album “Providence”, recently released via Ninja Tune. Accordingly, ‘DEGREELESSNESS’ - featuring the heavily distorted vocals of Prurient - is re-imagined as a shadowy four-on-the-floor cut.
“I really wanted Overmono to remix ‘DEGREELESSNESS’ as I love the way they use melody alongside heavy, but kind of abstract techno rhythms.” explains Nathan. “They’ve kept their mix pretty close to the original, but I love the Reece bassline outro.”
Producers Tessela and Truss (R&S, Perc Trax, Poly Kicks), also known as brothers Ed and Tom Russell, once again join forces as Overmono to remix one of the outstanding cuts from Nathan Fake’s fourth album “Providence”, recently released via Ninja Tune. Accordingly, ‘DEGREELESSNESS’ - featuring the heavily distorted vocals of Prurient - is re-imagined as a shadowy four-on-the-floor cut. “I really wanted Overmono to remix ‘DEGREELESSNESS’ as I love the way they use melody ...
Producers Tessela and Truss (R&S, Perc Trax, Poly Kicks), also known as brothers Ed and Tom Russell, once again join forces as Overmono to remix one of the outstanding cuts from Nathan Fake’s fourth album “Providence”, recently released via Ninja Tune. Accordingly, ‘DEGREELESSNESS’ - featuring the heavily distorted vocals of Prurient - is re-imagined as a shadowy four-on-the-floor cut.
“I really wanted Overmono to remix ‘DEGREELESSNESS’ as I love the way they use melody alongside heavy, but kind of abstract techno rhythms.” explains Nathan. “They’ve kept their mix pretty close to the original, but I love the Reece bassline outro.”
