ALEXANDER FLOOD — Artifactual Remixes LP

Alexander Flood returns to Atjazz Record Company with Artifactual Remixes, a new eight-track 12-inch vinyl LP that reimagines material from his acclaimed Artifactual Rhythm album through the distinctive production languages of a remarkable group of contemporary electronic musicians. Released as ARC260ADRV in September 2026, the record brings together Peacey, Atjazz, Kaidi Tatham, Fred Everything, Close Counters, Oliver Night, Alexander Flood himself, and the collaboration of Crowd Controlol & Karl Swisher. The result is a broad but coherent journey through house, broken beat, deep house, jazz-informed electronics, UK garage and bruk. Alexander Flood occupies a distinctive position within the Australian electronic scene. Based in Adelaide, he is primarily known as a drummer and bandleader, with a musical vocabulary that crosses nu-jazz, deep house, broken beat, drum & bass, funk and experimental electronics. His work is built around rhythm in the most literal sense: live drumming, physical groove and an understanding of how organic musicianship can function inside club-oriented production. Artifactual Remixes extends that approach by giving his compositions to producers with very different relationships to rhythm, harmony and dancefloor culture. The A-side begins with “Artifact (Peacey Remix)”, where ARCo.’s own Peacey turns the source material into a shuffling, garage-inflected groove. The rhythm has a distinctly broken character, with syncopation and forward movement giving the track a supple club feel. Rather than simply reproducing the original arrangement, Peacey focuses on the rhythmic architecture, making the remix particularly effective for DJs working between house, UK garage and broken-beat territory. “Don’t Wait 4 Me (feat. Kara Manansala) (Atjazz Remix)” follows with a very different interpretation. Atjazz brings his characteristic combination of emotional harmony, deep low-end weight and sophisticated house programming to the track. Rich piano movement sits above heavyweight kicks and warm bass pressure, while Kara Manansala’s vocal remains an important melodic component. The result is a deeply musical house rework in which the groove provides the foundation but harmonic detail gives the track its emotional depth. Kaidi Tatham takes “Vibração” into another dimension. One of the most distinctive figures in the modern broken-beat and jazz continuum, Tatham approaches the composition less as a conventional club remix and more as an opportunity for harmonic reconstruction. His version reworks the musical material with an instinct for jazz harmony, rhythmic displacement and electronic texture. Flood’s drums remain an important part of the underlying identity, but Tatham reshapes the surrounding musical environment into something more fluid and exploratory. The fourth A-side cut, “Life Is a Rhythm (feat. Cazeaux O.S.L.O) (Fred Everything Broken Mix)”, brings the release back toward sophisticated dancefloor house. Fred Everything’s contribution emphasises clarity, groove and elegant arrangement, while the “Broken Mix” title reflects the track’s rhythmic departure from straight four-to-the-floor house. Cazeaux O.S.L.O.’s vocal contribution adds another human layer to the production, reinforcing the relationship between Flood’s live-oriented musical approach and the refined club production associated with Atjazz Record Company. The B-side opens with “Can’t Get Enough (feat. Vivian Sessoms) (Close Counters Remix)”. Close Counters bring together deep beats, jazz sensibilities and electronic textures, creating one of the record’s strongest links between live musicianship and modern club production. Vivian Sessoms’ vocal provides the emotional centre, while the remix places the song inside a deeper, more rhythmically detailed framework. The combination of vocal soul, broken rhythms and electronic sound design makes this a particularly natural fit within the wider Artifactual Remixes concept. “Don’t Wait 4 Me (feat. Kara Manansala) (Oliver Night Remix)” moves further toward deep bruk. Oliver Night’s interpretation is described as a colourful reimagining, with the arrangement developing through unexpected rhythmic and textural changes rather than following a predictable house structure. Kara Manansala’s vocal remains central, but the production gives it a more exploratory environment, allowing the rhythm and electronic details to continually reshape the track. Alexander Flood takes control of “Can’t Get Enough” for his own remix, providing one of the most direct connections between the original album and this remix project. His interpretation is choppy, punchy and garage-infused, placing greater emphasis on rhythmic energy. That choice makes sense coming from a producer whose background is fundamentally rooted in drums: the remix treats percussion not merely as accompaniment but as the principal engine of the composition. The result is a concise, energetic club interpretation that connects Flood’s live-drum sensibility with contemporary UK-influenced dance music. The final track, “Life Is a Rhythm (feat. Cazeaux O.S.L.O) (Crowd Controlol & Karl Swisher Remix)”, closes the LP with a smoother and more understated approach. The remix maintains a rolling groove while avoiding unnecessary excess, allowing the melodic and vocal elements to breathe. It provides an elegant conclusion to a record that has moved through garage, deep house, jazz, broken beat and bruk without losing its central rhythmic identity. What makes Artifactual Remixes particularly compelling is the quality and diversity of the remix roster. Atjazz, Fred Everything and Kaidi Tatham each bring long-established identities in sophisticated house, jazz and broken-beat music, while Peacey, Close Counters, Oliver Night and Crowd Controlol & Karl Swisher approach the material from newer and more hybrid directions. Flood himself completes the circle by demonstrating how the original artist can reinterpret his own composition without simply reproducing the source. The release also works as a concise introduction to the musical world surrounding Alexander Flood. His original Artifactual Rhythm project combined drums, keyboards, bass, flute, Rhodes, synthesizers and electronic programming, with contributions from musicians including Erica Tucceri, Finn Rees and Dylan Paul. The remix album therefore retains a strong connection to played instrumentation even when the material is transformed into more overtly club-focused forms. For DJs, ARC260ADRV offers unusual flexibility. “Artifact” and “Can’t Get Enough” provide broken and garage-oriented rhythmic options, Atjazz and Fred Everything deliver deeper and more sophisticated house territory, while Kaidi Tatham and Close Counters push further toward jazz-informed broken beat. Oliver Night and Crowd Controlol & Karl Swisher add further variation without taking the record outside its overall musical language. For collectors, Artifactual Remixes is significant as the vinyl companion to Artifactual Rhythm, translating Flood’s rhythm-heavy compositions into a physical LP featuring eight different interpretations. The record is issued by Atjazz Record Company as ARC260ADRV and arrives in September 2026, with the vinyl edition officially listed as a 1xLP. Alexander Flood – Artifactual Remixes is ultimately more than a conventional remix package. It is a study in rhythm, musicianship and reinterpretation, showing how the same compositions can move between house, garage, broken beat, jazz and bruk while retaining a recognisable musical core. For listeners interested in sophisticated contemporary dance music with a strong connection to live instrumentation, and for DJs looking beyond straightforward four-to-the-floor formulas, ARC260ADRV is a particularly rich addition to the Atjazz Record Company catalogue.