18.12.2016

SHTRMXS [RVSDMMXVI] - TRACK BY TRACK WITH TJ & D.

It's not so easy to explain what SHTRMXS is all about. On the one hand, it's just a fun project with shitty remixes of terrible covers, but on the other, this is a deep conceptual release full of easter eggs and references to HIM's music. We decided to dot the i's and cross the t's and arrange this "Track by Track" interview. You will fully immerse yourself in the process of creating such an amazing and controversial project, as well as learn the whole ins and outs of doo-doo-mixing...

SHTINTRO

TJ: The idea of an introduction with the sounds of diarrhea was already floating in the air (as much as diarrhea can) when the album was about halfway done. The intro predisposes the listener for further ear defecation (i.e. leads to the world of wonderful covers).

D.: Initially, the release was conceived as a double compilation for SaintScream with good and bad HIM covers but the concept, as well as the working title "SUSUX: SUX SUXXEX SU SUXE SUXXEL", quickly developed into "SHTRMXS". The name itself is a reference to HIM's rather controversial remix album "SWRMXS".

Harcheik (Atmospheric Mix)

Original: MAXXX

TJ: The brilliant idea of remixing HIM covers was born right after this track was done. At first, the version sounded completely different and it was a kind of a draft only. Then I came up with the perfect sound and thought that the track was as excellent as the business strategy of its performer.

D.: We just decided to have fun with the heartwarming "masterpieces" of a mercantile covermaker. SHTRMXS wasn't even in its infancy at the time, but without knowing it, TJ laid the first dookie in the foundation of an ironic and without any doubt an unique project in the "HIM universe".

J.M.I.D. (SHT-ZMB Apocalypce Vrs)

Original: Wynter Madisyn

TJ: Around the end of the production of SHTRMXS I was completely exhausted, which can be heard on this track. I purposefully aspired to a gothic, even an ethereal sound to some extent, because the original irritated with its open poppyness. I thought that my job was quite done.

Excrement (Kookoracha Doom Rmx)

Original: HeartLikeAHole

TJ: A continuation of the distant sound of "J.M.I.D.", but in a clearer key. The "Doom" Version is somewhat different from the original one and looks more complete. It's like a visit to the WC after a two-day constipation.

D.: We decided to leak "Excrement" a month before the release (in the beginning of March) because the feces were appearing through melting snowdrifts and the track had a spring mood.

Sux Sux Sux (Please Stop This Shit Mix)

Original: Unknown Dude

TJ: From the very beginning I was sure that there should definitely be a remix of "666" because that track has a lot of connections to my life. Unfortunately, I consider it as the weakest spot and as I'm thinking about it now, it should have been called the "Purgen Mix".

D.: There were many similar "passing" tracks. Exhaustion, utter apathy to his own creations and the total exhaustion of TJ's astral rectum resulted in the sound of such remixes. "Sux Sux Sux" was no exception, but remained on the record as a memory of the hard times that its creator was going through.

P.S. The cover itself has undergone minimal changes so the listener has a unique opportunity to get acquainted with the original and feel all the pain that we experienced when listening to this shit.

Lucifer's Ass

TJ: Lucifer's Ass leads to the first SHTRMXS single. It gives the listener more time to consciously evaluate the material listened before and lets some methane come out until the pants are filled with brown mass.

D.: The instrumentals literally gave SHTRMXS a second wind. The lack of material and the monotony of the mixes caused tension in our anuses. It seemed that it was possible to put an end to the project, but the timely leak of "Tears on Tape" allowed us to take a new look at the album and change the concept completely. As a result, everything was ready in one week. Moreover, TJ left a huge piece of buzz to the end of "666" remix, which was merged with the sounds of farting and it grew into this atmospheric instrumental.

RPTTHWNGSFBTTRFL (Drugg Dub Mix)

Original: Wynter Madisyn

D.: A perfect example of how an absolutely shitty cover masterfully turns into a lead single through the magic of VirtualDJ.

TJ: My favorite track from the album, kind of the cream of the crop. The video clip for the cover looked much more epic than the track itself, and the performer of this masterpiece still comes to my mind during bowel movements.

Trippin’ Da SHT-Hole

TJ: The next instrumental gives an opportunity to whip out the brown rivers of grace again, as well as to think about the perfection of the nature of the human body.

D.: A severe attack of diarrhea together with a hard electronic dub directs the listener straight to the core of SHTRMXS. If you need to pick one track that accurately conveys the mood of the album, it's definitely "Trippin’ Da SHT-Hole".

Heartkillah (Vulture Short Extream Mix)

Original: TummyBeer + The Birthday Massacre "Holiday"

D.: The authors of the original didn't pretend to release a high quality cover and posted it as a joke but the remix turned out to be so excellent that it would be an unforgivable mistake to not to include it on the release.

TJ: The Birthday Massacre's "Holiday" became a basis for this track. At the time I was trying to mix diarrhea from my remixes with diarrhea from other artists. This "explosive mixture" allows you to feel the whole palette of emotions of the creator. The laughter at the end of the track is the best moment on the album in my opinion.

Unleash Da Brown

D.: Almost the most ironic thing on the album is the prelude with a length of 0 seconds, which was literally cut out of the introduction to "Scared" in the last days of mastering (another reference to "Tears on Tape").

P.S. The CD version was slightly longer due to the technical limitations of the format.

Scared (Death to Heretics Mix)

Original: AD aka American Dream

TJ: This is the most peculiar track on the album because it was recorded in a completely different studio with different equipment. It shows myself in a completely different light at the highest point of emotional exhaustion. Thoughts about the pointlessness of going to the bathroom were appearing in my head. The remix gives awareness of the infinity of bowel movements and prepares for the destruction of the toilet.

D.: The mood is somewhat similar to "Excrement" but it sounds a little different. I remember how we tried to solve the problem with sound imbalance and hard crackling in the first half of the track. After a long torment we realized that such a wave-like sound gives the remix a "peculiar charm". The track was dropped as a single a few weeks before the album release.

Kiss the Poo

TJ: Unfortunately, the idea of the instrumental doesn't belong to me but the bliss with which the pain-tormented shit-thrower throws off the doop is simply amazing and leads straight to the last remix.

D.: In addition, there must be a dark part in a shit-related album, containing heart-rending moans from the WC next door.

The Kiss of Da-Da-Dawn (Drum Daun Beat Mix)

Original: Kiri311

TJ: I was quite inspired by the cover itself while working on this remix. The beat and the reverse effect create a perfect balance, like the union of feces and urine...

D.: Definitely the most thermonuclear remix on the album. This is the last single, the relievation after the main release.

SHTOUTRO

D.: The agonizing process of fecal ejaculation ends with the crack of tearing off toilet paper, which becomes the culmination of SHTRMXS.

Around May after the album was released, we came up with the idea of adding hidden tracks onto the physical release. For the sake of complete absurdity, we decided to fill the capacity of the disc completely and add a lot of empty fillers. There were 99 tracks in total. Two of them are easter eggs which can be heard at the very end of the CD...

XAXSXLXEXEXPX (Shatter Me With Snoring)

TJ: The snoring at the end (and yes, it's snoring) belongs to a fella 'o mine and it was recorded during a terrible hangover.

D: The original track that TJ sent me lasted about an hour. It had to be slightly trimmed because the CD format doesn't allow to record more than 80 minutes. And let's be clear, not everyone of us would have the courage to withstand an hour-long session of non-stop snoring as TJ managed to do. Fortunately, these sufferings weren't in vain and "Shatter Me With Snoring" served as an excellent prelude to the final surprise...

SOS (Song or Shit)

D.: At the very end, a series of unexpected pauses and excruciatingly long snoring is followed by this final track which was recorded by me on my balcony with the accompaniment of an electronic piano. Inspired by "Song or Suicide", I wanted to add a piece of my soul to the release and convey the vocal manners of the covermakers who we remixed. The album ends with such a symbolic serenade. In general, the idea of hidden tracks is a tribute to "Greatest Lovesongs Vol. 666".

The bonus tracks for RVSDMMXVI are remixes made during the creation of the first album. In general, quite a lot of work has been done despite all the sobriety of the project. At least 15 tracks were left behind, 6 of which were worthy of release...

Join Me in Wheel (VC vs Craþþy Omar Megamix)

Original: Omar + Depeche Mode "Behind the Wheel (Vince Clarke Remix)"

TJ: This is one of the products made using the multiversing technique. The main beat and track is Vince Clarke's remix of "Behind the Wheel". Just with a little bit of work, the middling remix turned into a masterpiece of doo-doo-mixing. It wasn't included on the album only because the concept of the track didn't fit the general message.

D.: Not the worst cover that we had to listen to but undoubtedly it's a grandiose and an epic remix.

Duum Duuum Duuum Duuum

TJ: For a greater wholeness of the release we decided to add an introduction to the next track.

D.: It's like a breath of fresh air in a room full of farts.

Fart-Killah (Doomy Poossy Rmx)

Original: Isäntä

TJ: An example of high-quality work but again, for reasons of integrity, the remix was left outside the long play. There's a strong tension throughout the track and at the end it reaches its climax. "FART-KILLAH" could well finish the original tracklist of the album.

D.: We decided to avoid repetitions, that's why preferred to leave a dizzying "Heartkillah" instead.

Strange Word (CHO) (Acid Plague Club Mix)

Original: Ali Caglayan

TJ: While working on the mix I was euphoric and sincerely believed that it was worthy of a place on the album. After weighing all the pros and cons, the track was left in the toilet annals i.e. as a b-side.

D.: The remix is so expressive and rattling that towards the end it creates the effect of a CD player breaking down. We really considered putting it at the very end of the release to make fun of the listener.

P.S. In addition, this track didn't fully fit the concept of the project because in fact it's a cover of a cover and not an original HIM song.

P.D.L.I.G. (Gay Parade Rmx)

Original: MAXXX

D.: A masterpiece straight from the first EP of covers and remixes called "His Mercantile Majesty".

TJ: MAXXX's work didn't go on the release this time, but in my opinion the track is pretty good! The sound is reminiscent of a 50's art house, or rather copro films of the 50's.

Jmndth (Omar Crabbs' Claws Rmx) (Demo)

Original: Omar

TJ: An initial version of "Join Me in Wheel" before mixing it with "Behind the Wheel". Listening to it now, the demo sounds very worthily and takes a deserved and an honorable place on the deluxe version.

Translated by Natalya Zolotuhina & Tatiana Burmenko. Revised by D. & J.J. in September 2021.

Added by: super sheldon 18-12-2016, 13:11

4802