The original mix never exceeds 85BPM, but despite the Balearic pace it contains zero trace of pastoral sweetness, as a plotted synth melody with one misfired note, plus distended trails and handclaps, establish its wonky otherworldliness. In combination with squealing horn-like stabs, and Smash—who sounds like a disturbed child singing quietly to herself—the result is deliberately and deliciously unreal. The original is probably malleable enough to withstand pitching up into DJ territory, but it's the remixes that will help this find a home amongst disco heads at both ends of the spectrum.
Erring on the side of caution, newcomer Moscow throws plays a full hand of nu-disco accessibility, toning down the quirk, quickening the pace, and filling the gaps with layer upon layer of melody. Likewise, Italo godfather Daniele Baldelli in concert with Dionigi opt for a danceable setting, but with so much emphasis on multi-tracking Smash's thin vocals, and so little on its modest analog beat, it ends up in an unsatisfying place between cold wave and early house. Clap Rules embrace the absurdity, warming up the arrangement with shimmering clouds of colour, bass-dwelling synth noodling, live keys and chirping birds for a trip into cosmic soul, while Justin Robertson under his Deadstock 33's guise opts for a wacky gothic take, replete with ghostly vaporized vocals and thundering drum breaks.
Overall, these are smart moves for In Flagranti's Codek imprint, allowing them to explore their experimental side and still cater for their fans who want a bit of dance floor rough and tumble.