Late last year Her Majesty’s Ship released the ‘She Like’ single from superstar in the making S.R. Krebs, now they return with three fantastic remixes of the same track provided by Ewan Pearson, Hiem and Moscoman.
Sarah Rebecca Krebs AKA S.R Krebs is an American singer and musician from Mississippi who learnt to sing gospel music before she could even read. After several years as a struggling musician, she came to be known as a fixture of the San Francisco folk music scene. Accompanied by her guitar, and her inimitable je-ne-sais-quoi, she charmed audiences. She sang with Thao & The Get Down Stay Down, The Blank Tapes and other well-known bands, before moving to Paris in 2008.
First up on this remix package is Ewan Pearson, something of an electronic music super producer who has worked with or remixed everyone from Footprintz to Franz Ferdinand whilst DJing around the world and turning in compilations for the likes of Fabric and Kompakt. His version is a suitably subtle rework that layers the track with plenty of proggy disco energy and lets it roll and build in careful stages. It’s a perfect dancefloor chugger of the sort that will light up one of his DJ sets.
Next up, David Boswell aka Hiem has had plenty of chart success in the UK as The All Seeing I and is known for working alongside pop royalty like Jarvis Cocker, Phil Oakey, Rosin Murphy and Roots Manuva. As an underground producer he has released on Crosstown Rebels, Eskimo and Throne Of Blood and here drops plenty of withering synth lines, thick and rugged disco basslines and glistening melodies into his remix. It’s a shiny, summery thing with echoing guitar riffs buried deep down inside it and is the sort of thing that really makes you feel like you’re soaring on a wave.
Moscoman has been playing with music since he was ten, and since then has DJed all over his native Tel Aviv, released his debut EP on the French boutique label I’m a Cliché plus has remixed for labels such as Record Makers and Her Majesty’s Ship. He re-visions the track as something a little darker and more menacing, with a taught bassline phrase and rattling synths making for a dystopian urban vibe. The original vocals sound more haunting as a result as shooting chords shimmer all around, but still do little to detract from S.R. Krebs’ talents.
Each of these remixes reimagines the already standout original as something completely different, breathing new life into it in the process.