Remixes By Tco

The Cinematic Orchestra

A 7 track album () — released November 20th 2000 on NINJA TUNE

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J Swinscoe and the Cinematic Orchestra came out of nowhere last year to stun all good folk with their take on jazz, sixties soundtrack and modern sampler technology. 'Motion' surprised everybody, its atmospherics garnering huge mounds of press praise and radio play. As a result, Swinscoe became a much sought-after remixer. And his remixes were blinding. Ninja, being a jealous beast, decided that we should get some love for 'em. So we trawled round various record companies and begged them to let us release the whole lot as a bumper package of loveliness. And here they are: Faze Action - Moving Cities The Cinematic Orchestra in up-tempo shock, this is an epic on the grand scale, moving through jazz double bass licks, squawking afro-sax and ridiculously beautiful guitar. When the band played this live to close their recent XEN set at Ronnie Scotts' it brought the house down. Tom Tyler - Channel One Suite (on CD and Vinyl) Tom's version of Channel 1 Suite originally came out as a limited 12' with the famous Axis remix also. The limited edition was to 500 copies only. So this is a kinda exclusive track for the remix album......niiiiiiiice Tom Tyler - Ode to the Lizard (Vinyl Only) Bit of a switch here. This is Tom Tyler's take on 'Ode To The Big Sea,' recorded when people still said Jason Swin-who? and released in a limited edition single run of 500. Kenji Eno - The Fear Theme Originally commissioned for a Dreamcast game, Swinscoe remembers that 'the track was a modern classical piece which actually was really scaryS' As for the game, well, 'I've never seen it or even know if the track was ever used for it.' With this loping little shuffler coming on like 'I Am The Walrus' in a slasher flick, that's some teen video jock's lossS Les Gammas - Guauanco More banging beats from TCO! As J explains, Les Gammas are 'two nice guys I met from the Compost label during touring around Europe who loved my album and insisted they wanted a mix. What another one...' OK, go on then!!!' Mr Swinscoe never slacks, though, and this one didn't disappointS Piero Umiliani - Panoramica Originally released on a compilation entitled 'Easy Tempo Experience' this is distinguished by off-centre electric piano stabs and a trademark slow build that leaves you gasping. 'It for me is one of the best tracks,' states J. 'Lots of emotion and soul...' Nils Petter Molvaer - Vilderness Jazz artist Nils Petter Molvaer releases his records through the great ECM label, and J certainly felt honoured to be asked to work for such an honoured jazz institution. The remix was done along with the Eva Katzenamier aka 'The Kat', and is described as 'one of the jazzier tracks on the album'. DJ Krust - Re-Arrange A titanic crossing of approaches, with Krust - the original abstract breakbeat terrorist - being taken somewhere else altogether: 'I completely mashed this one, turning into the almost lost track from 'Motion'!' Gilles Peterson was one of the very first champions of Swinscoe's music and finally felt he had the right track for the Cinematic style when this one came along. It didn't make the single due to TCO's musicians taking a little too long on the form-filling, but Talkin' Loud have issued it on one of their 10th Anniversary compilations. Huge. Artist Biography: J.Swinscoe presents The Cinematic Orchestra BIOGRAPHY Most eight year olds are forced by their parents to take up the clarinet or the violin. J. Swinscoe learned to play guitar. Not classical guitar, not any fiddle-de-dee John Waters schtick. J learnt to play it like you do when youÃre a teenager. When youÃve told your parents to fuck off and shoved the clarinet in the bin. For the first time, maybe, he was a little ahead of the game. It wasnÃt until 1990, though, that he formed his first group, whilst studying Fine Art at Cardiff College. 'Crabladder', spawned from 3 musicians, experimented with rhythm-based sound / music. Heavily influenced by jazz, a stronger (and strangely complementary) influence was American Hardcore (NoMeansNo, Jello Biafra etc...). Their first single was released on their own label, Power Tools, but the band soon split, not least because Swinscoe had already began to focus more on sampled-based sound and rhythm and the extra control it gave him After college he concentrated on his music, collecting records, fiddling with his sampler. From 1994 - 1995, Jason found himself DJing weekly on 'Heart FM', a pirate radio station based in South London as well as various clubs around the UK. More than anything else he was looking for a way to create the music he could hear in his head - a way to combine the feel of modern jazz from the 60s and 70s, the abstract angularity of film soundtracks from the same era and the contemporary innovations of sample culture. In 1997 he found the answer, recording and producing 5 tracks at 'Blows Yard' studios in London, meshing samples and live instrumentation. The method he developed points to one way out of the sample cul de sac. All the tracks on the album derive from live studio sessions. Initially, a variety of loops are sent to the musicians. They may be snippets of piano, bass or other melody. These grooves are played along to in the studio with specific ideas in mind. Once all the raw material is recorded, Swinscoe resamples and arranges the tracks according to his original vision as well as developing themes that appeared during the session. The method was quick to find its champions. Gilles Peterson, for one, has been a vocal advocate of the Cinematic Orchestra. Jason produced a 1 hour mix exclusively for Radio 1 which was aired around the release of Ã"DiabolusÃ in January. He also produced exclusive jingles for PetersonÃs Radio One World Wide show. A second session as a full live set up is scheduled for the time of the release of 'Motion.' Jason has also set up his own club, 'Loop'. The concept for this club is for the musicians and DJs to re-make the soundtrack to a film of their choice. This film will be projected while the DJs play new and already-existing music, kinitting in snatches of dialogue and sound from the original. Jason invites guest producers to play as well as live acts. DJs such as Kieran Hebden (Four Tet) have been quick to take up the challenge of the format.'

Trailing the profound debut release of Jason Swinscoe, aka Cinematic Orchestra, is this much anticipated-and at moments cathartic- remix project. Cataloging a wide range of artists to do the remixing - from DJ Krust, Piero Umilliani and Kenji Eno - number 50 in the Ninja Tune roster reaffirms their position in the murky fog of trip-hop, jazz, and downtempo arenas. Remixes range from the recognizable to the entirely reinterpretated. With a dash of smoky reserve, this audio document paints the listener into a corner, a corner that proves much to cozy for words. - J David Marston XLR8R

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