Watch + Listen: Kid Moxie Revisits ‘Big In Japan’ w/ New Remix & Video
Above image by George Geranios
As the pandemic dragged on worryingly into the summer of last year, we sought solace especially in music that was able to transport us away from those worries, if only for a few tranquil, unconcerned minutes. One song in particular, which still clings to our psyche some eight months later, was Kid Moxie‘s dreamy, wistful ‘All Day Long I Think of You,’ with its repeated mantra about desperately missing someone you love – certainly a common theme then, and even now, as we remain yet distanced from one another.
Known to her friends and family as Elena Charbila, the Athens, Greece based songstress’ evocative, cinematic pop has been notably featured in numerous television shows, independent films, and even fashion campaigns, including one for Gucci in 2020. But we’re most excited for the somewhat hush hush new album she’s been working on including a collab with British producer Maps – which is due out at some unspecified date later this year.
In the meanwhile, she has just revisited her striking 2020 cover of Alphaville‘s haunted synth classic ‘Big in Japan,’ with a new remix by American DJ/producer Dave Audé – a Bandcamp exclusive for the Not To Be Unpleasant But We Need To Have a Serious Talk soundtrack – and accompanied by a new, appropriately ’80s looking video. Audé’s reworking of the track exhilaratingly injects it with a sort of retro NYC club culture vibe, with chunky synths and housey beats making it primed for all those dancefloors we just might end up returning to before 2021 has reached its merciful end. Curiously, the anguished, metaphor-strewn original’s lyrics have often been misconstrued – when in fact the song is about a pair of young lovers trying to get off heroin (“Crystal bits of snowflakes / All around my head and in the wind”). But Ms. Charbila poignantly delivers them with an intriguing combination of anxiety and aplomb, giving the song an entirely new emotional purview.
“It’s always intimidating to do a cover of an iconic song,” she admits, “and I think the only way to make it work is to go for a complete departure from the original, and try to work your own individual sound into it. It feels like taking something familiar to a new, unfamiliar sonic landscape and seeing how it ‘lives’ in there.”
Things will happen while they can…