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| In 2003 Marillion offered every track off the Anoraknophobia album to ANYONE for remixing, and tremendous prize packages - including a £500 remix fee and a commercial album release. |
| Congratulations to everyone who entered - there were as many different styles and interpretations of our music as there were entries - it was great fun listening through. It was also hard choosing a final winner! |
| Grand Prize winners received £500 for their remix, plus release on the Remixomatosis album. Runners-Up were included on the Web Christmas CD 2004, Baubles. |
| There were a few songs that were VERY close calls; these 'Special Prizes' have been included on a limited Bonus Disc with the first pressing of Remixomatosis. |
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"Marillion" Reach Number 21
in UK Dance charts |
| After the close of the Anoraknophobia Remix Contest and release of Remixomatosis in 2004, several of the winners were contacted and given masters for 'You're Gone' and 'Don't Hurt Yourself' for remixing as possible b-sides to further single releases from Marbles as well as bonus tracks for a planned retail release of Remixomatosis. |
| When we received these new remixes, several stood out as 'club anthems' and we put a new plan into motion... |
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We chose 3 club-friendly tracks and pressed them to limited-edition 12" vinyl to be sent to clubs across Europe and the UK - but to keep anonymity, they were released only under the title 'Remixomatosis'. As the tracks got played in clubs and a buzz began, the single entered the UK dance charts at number 31, eventually climbing up to number 21 before dropping out. |
| The single was released in June 2005 and charted in July. Although the single didn't reach as high as we would have liked it to in the charts, it's still an impressive feat! And we're sorry for keeping you in the dark about this, but we had to keep it a secret in order for it to work! |
| A retail version of Remixomatosis was originally scheduled for release in September 2005 to contain several new remixes of Marbles material as well as some of the original tracks from Remixomatosis and Baubles but was eventually abandoned; limited remaining supplies of the 12" vinyl will be sold through Racket Records while supplies remain. |
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Boulder, Colorado is jam-band territory, and not the Mecca of electronica. Violinists work on concertos, and do not produce breakbeat-electronic music. So it raises eyebrows when people learn that Ryan Avery, a Boulder native and a classically-trained violinist, is the talent behind the solo project Chance's End, begun in Summer 2000. From BT to Cirrus to Hybrid, Chance's End's musical influences span many aspects of breakbeat electronica. |
| The Chance's End sound is based on a progressive-breakbeat vibe. Chance's End is also infused with strong melodic hooks, violin-led string ensembles (a memento of Ryan's classical violin roots), and a thick sonic texture that dance-floor breaks do not normally provide. Indeed, Chance's End usually focuses on creating music suitable for living room listening, rather than peak-of-the-night anthems. |
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| London-based Robert De Fresnes is a successful club DJ, and has already provided a remix for Marillion: "When I Meet God" from the b-side of the "You're Gone" maxi-single. |
| Robert has also remixed "You're Gone' for a vinyl-only club release in the summer of 2005. |
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Jeff, a multi-instumentalist based in Dallas, Texas, is drummer for band Red Monroe. Red Monroe’s music embodies the evolving, anti-establishment sound of progressive rock, but with guitar-driven, ethereal melodies that are reminiscent of the post-punk movement. The music is both melodic
and raw – combining dark and dissonant chord structures with moments of bare vulnerability. The band prides itself in not being easily labeled – choosing instead to continually develop its sound and embrace each song as it comes, regardless of genre. Red Monroe constantly strives to place the art above all else, a refreshing attitude of purity and innocence that is rare in today’s music culture. Amidst a culture of mindless artistic commercialisation, Red Monroe aims to make a lasting impact on music by satisfying listeners with its earnestness, its passion, and its authenticity. |
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Hearing that I'd won something in this remix competition was a nice bit of news to get, because only a couple of days earlier I'd left my nicely-paid Internet job to do music for a living. I listened to Marillion as a teenager, and Steve R. had a big influence when I was learning to play the guitar. Now that I use the PC to make tunes, it's fun to rediscover the band and rearrange some songs. |
| My own songs are soundtracks for the strange films in my head - it's trip-hop, guitars, brass sections and orchestras; Twin Peaks, 50s Sci-Fi, Bond films and Hammer Horror |
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| Grand Prize, Separated Out |
| Special Prize, Fruit of the Wild Rose |
| Runner-Up, Map of the World |
| Runner-Up, Quartz |
| Runner-Up, When I Meet God |
| www.carlhomer.com |
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Gary Hughes is a multi-instrumentalist, producer and engineer with experience working in many different styles of music. His early musical credits include playing drums with experimental rock band Apres V and darlings of the early 90s Camden indie scene, The Few. |
| It was during the recording of pop/rock outfit Goldliner's first CD that he first became interested in engineering and production which also led to a keen interest in computer-based music, and he became adept in the cutting up and creating of drum loops. |
| More recently he's worked as in-house engineer at Chiwahwah Music as well as working as a highly respected session drummer/bassist. He's also co-founder of Liquid Len Records. He currently plays lead guitar with post-industrial goth mavericks, History Of Guns, sings, plays drums and guitars with Blue Label and still finds the time to produce high quality eclectic dance music. |
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| Grand Prize, When I Meet God |
| Runner-Up, If My Heart Were a Ball it Would Roll Uphill |
| www.garyhughes.co.uk |
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I started playing keyboards in my childhood, and growing up was influenced by many varied styles of music, allowing me to make song arranging my specialty - my musical styles range everywhere from Electronic to Latin music. As a remixer, I have recently had 5 winning remixes in the Atman Remix Contest. |
| I have made music from my home studio since 2002. Currently I'm working as MIDI programmer for a mobile phone ringtone company, produce advertising jingles, collaborate on sample CD projects, and have many of my original compositions in television and film music libraries. |
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| In 1993 after graduating University, I began my career as a music composer with enthusiasm. In 1999 I had a great experience remixing music for the Japanese TV drama BGM. As my career continues, I have most recently remixed the japanese artist "Spinnerbait", and have received several awards from remix competitions in Japan and abroad. |
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| Runner-Up, Fruit of the Wild Rose |
| Runner-Up, Separated Out |
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Cameron has been immersed in music since he was very young, studying classical piano, drums, trumpet and guitar. His senior year of high school he was voted most talented student. During high school and after college Cameron was a keyboardist of various cover bands performing at school and college dances. After graduating from University of Oregon Cameron ultimately went on to attend the world renowned Grove School of Music in Los Angeles. While there he studied in the Composing and Arranging program where he composed, arranged and conducted for ensembles ranging from 17 piece big bands up to a full 33 piece orchestra. Since graduation Cameron has been involved in several professional projects. He currently operates out of his own professional home studio in the San Diego area. |
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I'm currently investing my time and energy in a band - Melon Finger - who I have just assisted in recording their first album. Along the way, I have now been absorbed to become a full band member playing guitar. |
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Kostia Rapoport was born in 1984 in St. Petersburg, Russia. He started his musical career with a classical piano education before the computer became his main musical instrument. Apart from school he had a job in a recording studio before he built up an own little project studio where he is now working on different ideas including remixes, own productions and film scores. Since 2003 Kostia is studying classical composition in the College of Music in Hanover, Germany. |
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| Grand Prize, Fruit of the Wild Rose |
| Grand Prize, Map of the World |
| Grand Prize, This is the 21st Century |
| Grand Prize, Number One |
| Special Prize, Separated Out |
| www.kostiarapoport.com |
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Redroque came into being in 1993 when Ian Harvey and Max Bellingham decided that they could write better songs and be a whole lot more flexible than the band they were in at the time. And they did, and they were! A whole lot of albums later, they are still working hard at it. |
| We enjoyed the Marillion Remix Project immensely, and so did the people who got involved. Liam again provided drums plus acoustic guitar and backing vocals. Uli Schwabe and Paul Keeler popped into the studio clutching bottles of Guinness and laid down the fiddles one evening after Mark and Ian had come up with the concept and done a fair bit of jiggery-pokery with the original vocal line. |
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Occasionally moving away from their live band work, the members of Size 9 have been known to dabble in remixing and Electronic music when called to duty. The Size 9 remix of the Marillion song "Go!" appears on the Web Christmas CD 2001. |
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| This contest is closed, and Anoraknophobia masters are no longer available |
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| An Introduction |
| We’re giving you the chance to remix Marillion’s complete Anoraknophobia album. Not only that, we will be giving a prize of £500 for the best remix of EACH album track - that’s £4500 in total - AND including the winners on a remix album to be released in 2004! One runner-up for each track will get their remix featured on a future Marillion Web Fan Club annual Christmas CD (currently planned for December 2004). |
| The original song master recordings are available to purchase from Marillion Online, at a cost of £10 each. Nine tracks in total are available - the original 8 album tracks, plus the bonus track "Number One" (which will be included with the "Between You and Me" masters). |
| Now, you may ask "Why are you charging £10 for only one song?" Well, it turns out that the fewer CDs you make, the more expensive they are. On top of that, we will have to make the masters on demand for each person, which takes up a lot of time; and we also have to ship them out to you! And finally, we will be using the extra 'profit' from the sales to fund the prize money - we thought it was necessary to offer a significant cash prize for a contest/project like this, and by using the profits from the masters, the entire project is 'self-contained' financially. For those who are keen to remix ALL the tracks, we are also offering the complete set of all 9 songs for a 'package price' of £60. |
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| The Masters |
| Song Masters will be provided on made-to-order CD-R, in ZIP-compressed WAV file format (we decided to use the WAV format because it is compatible with both Windows and Mac OS, and the ZIP format has many free programs for uncompressing); any audio software/hardware is the responsibility of the contestant (more on that later). The files on the Masters are stereo files of different instruments, played from the start of the track to the end in its entirety. You will notice that many of the tracks have long silences at the beginning - this is to make sure that they are all synchronized. There are some advantages and limitations doing it this way: the advantages are you get instruments such as drums in a stereo pair as opposed to the 16 or so individual tracks they were recorded on. Everything is equalized ("EQ'ed") and has effects added ("Wet"). If you are experienced, you may see this as a disadvantage. We would say that if you don't like the way something sounds, replace it! The one exception to the above is the vocals. We have also included all lead and backing vocals minus any effects, such as reverb ("Dry") - if your remix is going to be very different to the original, you may want to treat the vocals differently. |
| If you want to try your hand at remixing before getting the full masters, you can download a 'condensed' version of the "Between You and Me" masters from ACIDplanet.com for free. |
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| Your Remix |
| If you are new to remixing - don't fear! There are plenty of free software packages on the internet that can help you create your musical masterpiece. For starters, you may want to try your hands at the ACID software available on ACIDplanet.com. Whatever you choose, you WILL need to make sure that the software can handle multiple audio tracks (multi-tracking); and it will need to use or import WAV format files (don’t worry, though, most - if not all - audio software should support WAV files!). After choosing your software, you may well want to start by reproducing the original album mix as producer Dave Meegan set it. Doing this is easy: simply load the stereo files (apart from the dry vocals) into the program of your choice, and make sure they are all lined up to start at the same place. Then just press play and you should hear a pretty good reproduction of Dave's mix. You can then start playing around with the tracks; looping, editing, moving, and replacing anything you like. If you aren't a musician or don’t intend to add anything to what Marillion have already recorded, there is still plenty of scope to make the songs quite different from the original. Check out Mark Kelly's remix of "Between You and Me" (on Disc 2 of the Anoraknophobia Special Edition, the Between You and Me CD Single, or streaming online) to see what we mean. |
| You are free to use any loops, audio files, or other original elements that you certify do not infringe on any third party's intellectual property rights. You may use any commercial material for which you have received and/or obtained requisite clearances and licensing for such use. You are free to use your own musical creations. This means that you can use musical instruments and personal recordings. All performance material must be original and license free. This means no cover versions of existing material. Any entrant submitting material that does not meet with the above criteria, or is believed sufficiently in violation of the above criteria, will be disqualified from the contest; suspicion of copyright will be sufficient basis for disqualification of the submission. In plain English: if we think there is a copyright on anything in your song (apart from our original Masters!), we'll disqualify it from the contest. |
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| Submitting Entries |
| You will need to provide a CD-R or DAT of your work (CD-R is preferred) - WE WILL NOT ACCEPT MP3 SUBMISSIONS BY EMAIL OR POST, so please do not attempt to email them to us. All work other than the Masters must be completely original, and contain only royalty-free content. No unauthorized samples. Be prepared to prove that the content is yours. A word of advice: serious submissions only, please. You may submit as many remixes for as many tracks as you want; but no fragments, and no works in progress - final versions only. All submissions should be CLEARLY marked with your full name, postal address, email address, and telephone number on both the media (CD-R, DAT) and the packaging. Submissions without this information will be disqualified. Submissions should be sent to: Marillion Anoraknophobia Remix Project, PO Box 252, Aylesbury, Buckinghamshire, HP18 0YS, UK. Because of the volume of submissions Racket Records expects to receive, we unfortunately cannot acknowledge receipt of mixes. |
| The contest is open to ANYONE world-wide, and you will have plenty of time to work on your remixes - all submissions must be in by 31 December 2003 (NOTE: this has been extended from the original deadline of 31 October 2003, but does not include the ACIDplanet portion of the contest - please see the Terms and Conditions for full details). |
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| Artistic Freedom |
| Finally, what kind of remix should you set out to create? How much original material should you use? Well, go crazy! Use as much or as little of the original as you like. If you need some 'inspiration', you may want to check out Tales from the Engine Room, the remix CD of our This Strange Engine album - it is a good representation of what can be done to radically change a song, yet still keep its 'essence'. And while there are certainly no 'rules' to what you can do musically, your remix should have some reference to the original song - a strong melody, vocal, or other musical theme. A complete reworking of nothing but your original music is not what we’re looking for (for example, "Face 1004" from "Tales…" may be interesting musically, but bears little resemblance to the original "Man of 1000 Faces" song!). Experiment, but submit compelling material. Make sure your composition grabs the listener, and be open-minded. But most importantly, have fun! |
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| Want to promote your music? |
| If you feel your remix is something special (and we expect you would, otherwise you wouldn't send it in!) you can certainly promote it yourself. |
| HOWEVER - if you wish to do this, you MUST contact us for details to obtain permission to use the music outside of the Contest. If you do not obtain Marillion's written permission, you will be in violation of Copyright law, and liable to prosecution. |
| We DO encourage contestants to promote your own work, and will be happy to provide support should outside companies take an interest. It does sound harsh, but we must stress that you are legally obliged to get our permission in writing before doing so. |
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| Can I use samples from other Marillion songs? |
| Whether it's Marillion or any other artist, copyright restrictions (as described in the Terms and Conditions) still apply. To explain a bit more... |
| Because of the pre-order campaign of Anoraknophobia, Marillion actually OWN the rights to this album. This is very unusual in the music business, but also why we are able to run this remix contest. By buying the Song Masters for the Remix Contest, you are - in effect - paying a licensing fee to use them. Because we own them, we can grant you permission to use them. (But please note, this applies only to the Song Masters, and not to live, acoustic, or otherwise alternate recordings of the songs.) |
| In contrast, all the Marillion albums up to 1995 are owned by EMI, and the three albums from 1997-1999 are owned by Castle/Sanctuary. So... If you want to use any material from these albums (or for that matter, any other music by any other artist) you will have to get in touch with the record company/music publisher/copyright holder directly. This includes playing or recreating music from these albums yourself - not just to lifting samples from other tracks! |
| However, remember that this is a remix contest, and you are encouraged to create something NEW rather than use pre-existing material. |
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| I'm not great with Remixing. Can I do a "cover version" of one of the songs? |
| This is a bit more difficult to answer, but in short - no. Again, let's explain... |
| One of the main 'requirements' of pretty much any remix is that at least some part of the original track remains, and nearly 100% of the time, this part is the Lead Vocal. |
| So, while you are free to re-record the entire song if you desire, you will still need to purchase the Song Master for 2 reasons: First, for the licensing rights (as described above in Question 1). Second, to have the master track of the original vocal to use in the remix. |
| Again, this is a remix contest, and we are not looking for 'carbon copies' of the original songs - if your "cover version" sounds dramatically different from the original, then that's your remix! But if you're simply playing an extra guitar track on top of the original or adding a sax solo in the middle, etc. - we can let you know in advance that you're not likely to win! |
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| Can I combine more than 1 track together in a remix? |
| Yes, you certainly may. But there is something very important to keep in mind: for the purposes of our contest, you MUST submit your remix into one of the 9 song 'categories'. |
| We obviously reserve the right to add a 'most original' prize category in addition to the 9 songs, however there are no plans to do so at this time. |
| If you are using elements from more than one Song Master, we would strongly suggest that you focus on one of the songs as the 'main' remix. If the final "combined" remix is not obviously from one song over another, we will be unable to assign it to a category, and it will be disqualified. |
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| Are samples of each drum (or other instruments) included separately? |
| No. The drums (and all other tracks on the Masters) are stereo tracks. There are plenty of drum libraries out there with single hits for your sampler. A good sample with a bit of tweaking and EQ can sound like just about anyone's drum kit! |
| Many of the sounds ARE separate, but some have also been combined together. There was no 'rule' as to how this was done on the original masters, so each one is different. Our best advice is simply to see what's on the files that you get, and make the most of what's there - remember, everyone will have the same Masters, so there's no unfair advantage from one person to another! |
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| Are you providing sheet music or bar chords for each track? |
| The most 'technical' information we are providing with the Masters are the song tempos and tempo changes - this is mainly for time stretching and looping purposes. Again, with a remix, there is no need to keep it in the same key. If you want to use the same chords, as Mark Kelly has said many times in the past, "Just listen to it - it's not that difficult!" And with the separate tracks on the Master, you're able to pull out individual instruments with no problem! |
| If you're really struggling, there are many MIDI file and Guitar Tablature sites on the internet that can probably start you off in the right direction - because there are so many, though, we'll leave picking the best one up to you! |
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