A California-based sound artist and producer, we’ve come to know and appreciate Peripheral Method’s eclectic and expansive style. Bringing an experimental flourish to the music world, his discography has grown to include all manner of electronic wanderings, from dark, brooding ambience to more mainstream anthemics.
Preferring to let his music speak for him, Peripheral Method announced himself in style recently with the release of a deft remix of The Chainsmokers ‘Don’t Let Me Down’, featuring the talented vocals of singer-songwriter DAYA. While the original remix was already a massive improvement over the soporific electronic tones of the original, Peripheral Method has gone a step further, proving he’s not through with the track just yet. Another intoxicating remix of the same song, ‘Bluebird Rising’ kicks things up a notch, bringing into the fold a wave of more orchestral movements that take the song to yet another musical dimension.
Clock in at just shy of six minutes, ‘Bluebird Rising’ takes the original track and twists into a cacophony of nostalgic club sounds a lavish, layered movement, pushing its way into view with a sense of frantic immediacy. Cut to ribbons and re-stitched into a kaleidoscopic mix of cinematic moments and unrelenting one-two shots, the first two minutes of the track pass by in a blur, crashing down upon you with an unexpected weight that knocks you for six.
The effect is a world away from Peripheral Method’s previous remix, offering a far less nuanced track the lives in a moment of creative fervour. It’s explosive, unyielding, and impossible to deny, and while it might take some persistence to and determination to stick with, the latter half of the track is a glorious and expertly done reimagining of the track, letting DAYA’s vocals stream to the front of your senses on a wave of hard-hitting, speaker-shaking EDM.
Ignoring the ringing in your ears that will surely follow any encounter with Peripheral Method’s new remix, you can’t help but be blown away by the creative force at work. To be able to rework a track into something completely different once is a challenge, but to do it twice, and in such diverse and different ways is sensational.
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