Sleep (Remixes) Max Richter

• 1 Path 5 (Short Edit) 06:38
• 2 Path 5 (Mogwai Remix) 09:53
• 3 Path 5 (Mogwai Remix / Edit) 05:42
• 4 Path 5 (Clark Remix) 07:42
• 5 Path 5 (Clark Remix / Edit) 02:34
• 6 Path 5 (Digitonal's Theo In Dreamland Mix) 06:48
• 7 Path 5 (Digitonal's Theo In Dreamland Mix / Edit) 04:43
• 8 Dream 3 (Short Edit) 05:25
• 9 Dream 3 (Jürgen Müller Remix) 10:55
• 10 Dream 3 (Jürgen Müller Remix / Edit) 03:32
• 11 Dream 3 (Kaitlyn Aurelia Smith Remix) 10:17
• 12 Dream 3 (Kaitlyn Aurelia Smith Remix / Edit) 06:46
• 13 Dream 13 (Short Edit) 03:23
• 14 Dream 13 (Marconi Union Remix) 05:54
• 15 Dream 13 (Marconi Union Remix / Edit) 03:48
• Total Runtime 01:34:00

Info for Sleep (Remixes)

Max Richter`s “Sleep” consists of “Dreams” and “Paths”, opiated lullabies sung by Hades` sirens, seducing you into a netherworld. Their serenity edged by the fear of letting go, the threat of “Inception”`s fix so deep that you might never make it back. Cello and violin led requiems with the grace of Johann Johannsson and Arvo Part, where piano plays the mother`s voice:

“There, there. Don`t worry. Sleep tight.”

A maternal kiss on the forehead for weary lids tired from day`s adventure. Sleep left to unravel excitement and prepare for the next. Sleep was something to be cherished when we were kids, before age forced us to start counting. Twenty summers left. If you`re lucky.

These remixes all retain the original`s narcotic quality. Marconi Union tether theirs to a kosmische Cluster-esque pastoral pulse. Digitonal sends “Path 5” into sad fractals reminiscent of Irresistible Force`s classic rework of Coldcut, and adds the longing strings of Wojcieh Kilar`s score for a vampire`s love remembered. An ache as old as time. Jürgen Müller transposes the melody of “Dream 3” and sets it echoing, spinning infinitely, until unconsciousness` escorts have you loving a lover for a last time or watching them slumber in the knowledge that one of you is leaving, has already left. Autumn leaves falling. Fall always seems a good time to go. Mogwai swim into darker waters pulled out by the undertow of a bass line leviathan (I remember seeing Mogwai live years ago and being most impressed by the bass player. He was their engine). Toms thump and lonely ivories tinkle in the black. Electronic interference fizzes like city neon, and the reverie is now one of “Bladerunner” images of impossible skyscrapers lashed by feedback squalls and Stuart Argabright`s “Black Rain”. Warp star Clark initially lightens the tone to a clockwork and music box calm, but a wall of Abul Mogard harmonic dissonance climbs from the background to the foreground like a loss of innocence in an increasingly Grimm fairy tale, a drop of scarlet blood on pure white snow, riding hood in the company of wolves, until once again you`re entering turbulent and troubled weather of the id.

Max Richter
The work of the award-winning British composer Max Richter includes concert music, film scoring, and a series of acclaimed solo albums.

Working with a variety of collaborators including Tilda Swinton, Robert Wyatt, Future Sound of London, and Roni Size, Max's work explores the meeting points of many contemporary artistic languages, and, as might be expected from a student of Luciano Berio, Max’s work embraces a wide range of influences.

Recent projects include the ballet INFRA, for Wayne McGregor at The Royal Ballet, with scenography by Julian Opie, the award-winning score to Ari Folman's Waltz with Bashir, and the music installationThe Anthropocene, with Darren Almond at White Cube.

Max's music has formed the basis of numerous dance works, including pieces by Lucinda Childs, NDT, Ballet du Rhin, American Ballet Theatre, Dresden Semper Oper, The Dutch National Ballet, Norwegian National Ballet, among many others, while film makers using work by Max include Martin Scorsese (Shutter Island).

Recent commissions include the opera SUM, based on David Eagleman’s acclaimed book, premiered at The Royal Opera House, London and Mercy, commissioned by Hilary Hahn.

Current projects include Vivaldi Recomposed for Deutsche Grammophon, recorded by British violinist Daniel Hope and the Konzerthaus Orchester, Berlin, as well as a variety of other recording and film projects.

This album contains no booklet.