Earlier on in the summer, London-based indie duo Dust In The Sunlight released their eponymously named debut EP. Clocking in at fifteen minutes and featuring four sublime (and sublimely recorded) tracks of atmospheric and ethereal pop, Billy Wright and Annie Rew Shaw are a partnership that certainly know their way around a melody. 

As do electronic rock veterans The Big Pink, who have remixed the standout title track from the Dust In The Sunlight EP to great effect – replacing the acoustic-driven warmth of the original with a far more ominous and oppressive feel. Gone are the prominent, almost tribal propulsive toms in favour of a colder, electronic palette with acres of empty space. However, Wright and Rew Shaw’s vocals are still very much the star of the show – each distinctive in their own right, yet complimenting the other perfectly. That they have been writing and recording with each other for just over a year is genuinely surprising given the chemistry they possess together.

Another joy to be found here is the gorgeous electric piano work, which has been brought more to the fore, along with the bubbling synth arpeggios that found themselves buried in the mix towards the end of the original. Cast in a new light alongside the precise electronic kit, sub-bass, and vocal layers that seem to have been chopped and reconfigured in the glorious intro, these elements take on a new lease of life here. The synth in particular grows more prominent in the build-up to the song’s climax, mirroring the gradual distortion of the vocals, before eventually retreating into nothingness. It works beautifully.

Everything seems to be hanging together in flux. It’s great; elements come and go, and every other bar seems to reveal another hidden detail. A subtle synth pad here, a reverse cymbal there. One can’t help but feel it would be interesting to hear more music in this vein from the band in future too. Whereas the EP showcases their mastery in a more intimate, acoustic sonic space, it’s clear that Dust In The Sunlight have the potential to creatively roam wherever they want to. Ultimately a good song is a good song, and these two seem incapable of writing anything less.

Also of interest is the striking video by Mindless Omission that accompanies the track. The slow-moving, ominous claustrophobia that creeps through the remix is reflected like-for-like in a trippy, kaleidescopic visual that looks not unlike the kind of thing you’d imagine Scott Walker saw in his more upbeat dreams.

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