The single is available for download from Bandcamp. As usual, the radio version of the song is, of course, free. As you might have noticed earlier, it will not be possible to order this single in physical format (due to low demand for previous physical single releases). However, if you would like to have it on CD, buy the digital release on Bandcamp (it’s only €1), download it in a high-quality format, burn it to CD and print the PDF-cover that comes with the full version of the single release.

And in case you wonder why it took so long time, as the single was scheduled to be released earlier this month, we chose to reject the first two versions of the mastering, to get a superb experience of this new Lost Shadow material. Enjoy!

Also, in a brief note, the voting for the Laurie Anderson remix contest has ended. I ended up on a 123rd place, which probably is what to expect from such an alternative mix. Now all hope is for the jury to appreciate it. Their picks will be announced on the 17th of June.

As usual when you want to investigate a system, you tear it down to its smallest parts and then reconstruct it to create a representative model, which will, if you’re in luck, tell you what you need to know about the system…

The remix was created using a technique I will use and describe more in detail later, in a coming art project (probably not under the Lost Shadow name, though).

You can listen to the single at either Last.fm or Bandcamp. At Bandcamp you can also order a physical copy of the single, as well as downloading it. You could also use the player at the bottom of this post.

We also sadly announce that this will be the last single (at least for a long time) that is made available in physical format for ordering. In the future, Phonocratic Records’ singles will be released only in digital format, with printable booklets for those of you who want a physical copy in the shelf. We think of this as a necessary move to keep costs down, and hope that our reasoning is understandable. The whole store is going through some changes in the near future, which you will see soon. Stay tuned!

The Argyle Raver: In this remix, we really enjoyed the big contrasts created between the verses and the chorus, which are much bigger than in the original version of The Man Without A Shadow. Also, we liked the hard electronic part of the verses. And when the build-up comes at 0.24, it is totally unexpected… Overall, we would not have been able to come up with this idea, or creating something that sounded like this remix.

DJ Alann Morse: This remix creatively focuses on transforming the whole mood of A Nuance of Future into a completely different song. The setting is different, gone is the hope for the future, instead a whole lot of electronic mysticism comes in and disturbs this dream anthem. Very interesting take on the song.

Jason & Sander: We really liked this remix from the first time we listened to it. It sort of takes the best from A Nuance of Future and places it in a slightly different context, keeping the dreamy feeling of it, but also added in chords and melodies that send shivers down at least my spine. What also strikes me is that the sound of this song resembles what I currently is working on for my next album. Once again, taking a remix taking the original song and making something truly new with it.

Shane Wittig: The thing we really like with this remix is that it combines the sound of the original 2006 version of A Nuance of Future with the sound of the new version made in 2009. Also, it puts it all into a sound context that sounds quite much like the sound that the first Lost Shadow records tried to achieve back in the early 2000’s. However, Shane succeeds much better with that sound than I ever did. Still not convinced? Listen to the rising synth part at 5.25, and you will understand the greatness of this thing.

stróm: Well, this remix is truly different. We like that the tempo is sort of halved, and also we really like the instrumentation. I think the wasteland feeling I get from this very much aligns with the feeling of the original version of The man without a shadow, meaning that they really complement each other in a very nice way. What stróm deos with the vocals towards the end (at 5.37 ->) is fantastic. I would never have thought of this use of my vocals! In addition, taking more than two minutes before the vocals come in is a bald move, and should be highly encouraged!

I hope this sorts out some uncertainties about our remix picking. As you can see, we have been highly subjective, and mostly judged from taste. The common denominator between the five is that they all became frequent playlist entries in my iPod during the last month, even at the times I did not listen for the context purposes, which I think indicates that I liked them the most…