In the Studio with Be.Lanuit: Crafting a Remix for Archeo’s 10 Year Celebration
I’m really happy to share some news about a new remix I’ve worked on with my friend and fellow Ibiza resident Be.Lanuit for Archeo Recordings’ 10 Year Anniversary Series. This project has been a real pleasure to be part of, not only because of the label’s legacy but also because of the history of the original record.
This is the original Sth. Notional track from 1992 — the piece that Be.Lanuit and I had the pleasure of remixing.
Here’s a short clip of some outtakes from the studio with Be.Lanuit and myself, giving a glimpse into the remix process and a hint of what we created for Archeo Recordings.
Here’s the official write-up from Patrick Ryder, which perfectly captures the story:
Sth. Notional. Originally released on Zero Corporation in 1992, this peaceful combination of piano, double bass, strings, and guitars walked barefoot through the same long grass as Penguin Cafe Orchestra and In The Nursery, following a desire line between neo-classical, chill out, and ambient. As such, it soon became a Balearic grail, much feted by the likes of Mison, Moonboots, Dr. Rob and Apiento, and practically impossible to score on vinyl even by the time Discogs first emerged. For its 2018 triple pack, Archeo compiled the ten tracks and versions found across the original vinyl and CD release, alongside a quartet of new mixes from a who's who of Japan's Balearic chapter. Now, the Florentine label invites Ibiza's Be.Lanuit & NuNorthern Soul boss Phil Cooper to collaborate on a hypnotic version of the title track, which pulls from dub, dancehall, breakbeat, and electro-acoustic – yet exists entirely in a sound world of its own. Utilising elements from each of the different original mixes, the duo delivers a true horizontal head-nodder, in the lovely lineage of Tranquility Bass and Mad Professor's Massive Attack...dubs.
Alongside our remix, the 10 Year Anniversary EP brings together a stunning set of reworks from some of Archeo’s closest friends and collaborators:
A1. Ricardo Giagni – Passeggera (Mudd Edit) Mudd stretches out Giagni’s original into a warm, rolling Balearic journey — rich in space, groove, and the kind of detail that makes his productions so enduring. A sunrise-ready edit that feels timeless.
A2. Mario Acquaviva – Notturno Italiano (Relative feat. Club Soda Remix) Relative teams up with Club Soda to take Acquaviva’s evocative piece into deeper territory. Synths shimmer, rhythms bubble, and the whole thing carries a late-night Mediterranean energy.
B1. Sth. Notional – Yawn Yawn Yawn (Be.Lanuit & Phil Cooper Balearic Life Reality Remix) Our contribution — hypnotic and horizontal, pulling threads from dub, dancehall, breakbeat, and electro-acoustic textures to create something entirely in its own world.
B2. Tony Esposito – Veronica Song (Hear & Now Remix) Hear & Now reframe Esposito’s gem with their trademark touch: dreamy, layered, and full of coastal atmosphere. A gentle but powerful closer that lingers long after the needle lifts.
This remix is available now as part of a very limited edition release — just 100 copies pressed on shocking pink vinyl, complete with insert.
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That Sth. Notional track was already such a Balearic gem from the early 90s, so hearing how you and Be.Lanuit approached the remix for Archeo's anniversary is brilliant. Blending electro-acoustic layers with those heavier dub and breakbeat elements gives it a whole new direction while keeping that relaxed sunset feel intact. Balancing side projects or deadline work like Assignment Help for College Students Australia often leaves me seeking music that aids focus, and this horizontal head-nodder style hits the spot. The 100-copy pink vinyl run is a great touch for collectors. Really curious to know if you used any original hardware synths during the session or kept it mostly digital?
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The post gives a really interesting behind-the-scenes look at the remix process for Archeo’s 10-year celebration, especially how collaboration in the studio can shape a track in unexpected ways. I liked how it highlights the balance between respecting the original material while still bringing in new textures and ideas from different influences. It also captures that creative flow that happens when artists trust each other enough to experiment freely. Overall, it feels like a nice reminder that remixes aren’t just technical edits but proper reinterpretations that carry their own identity and story within the wider music project, and similar structured creative processes can even be compared to planning approaches used in assignment services.