Herbert* ‎– Secondhand Sounds: Herbert Remixes


- Nils Petter Molvaer 'Merciful' Herbert's We Mix
- Motorbass 'Ezio' Herbert Remix
- Two Banks Of Four 'Street Lullaby' Herbert Gutter Dub
- Mono 'Highlife' Remember Herbert's Mix
- Herbert 'The Last Beat' House Dub
- Herbert 'Banquet' Herbert Remix
- Doctor Rockit 'Tape Measure' Herbert's Metric Mix
- Presence 'Future Luv' Herbert "Did This" Mix
- Furry Phreaks 'Want Me Like Water' Herbert's Tension Dub
- Herbert 'Thoughts' Herbert Remix
- Terra Deva 'Fresh Start' Searching For Herbert's Mix
- Recloose 'Can't Take It' Herbert's Some Dumb Dub
- Moloko 'Sing It Back' Herbert's Tasteful Dub


- Mr. Oizo 'Last Night Herbert Murdered My Poodle'
- Ferenc 'Brown Beat' Feed Me Herbert Mix
- Björk 'Pagan Poetry' Matthew Herbert Handshake Mix
- Agent Blue 'Opera' Herbert's Late Night London

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September 10, 2017
referencing Secondhand Sounds: Herbert Remixes, 3xLP, Comp, PFG021:02

Where to start, so many bangers on here, each with that instantly recogniseable little Herbert twist. Worth buying for Bonnie & Clyde alone. The Zip track is nuts!


August 16, 2014
referencing Secondhand Sounds: Herbert Remixes, 2xCD, Comp, PFG021CD
Alltogether very boring, perhaps he had to do the remixes for money. Rather uninspired use of loops, tracks stretched/extended to maximum. One of the weaker publications of Matthew Herbert.


June 30, 2004
edited over 14 years ago
referencing Secondhand Sounds: Herbert Remixes, 2xCD, Comp, PFG021CD

Secondhand Sounds, a collection of remixes by Herbert, showcase his unique and fascinating skills. While all of the tracks skew housewards, the differences in mood are wonderful. On the first disc, Mono gets “Highlife” taken to a new club high, while Two Banks of Four and Nils Petter Molvaer receive more jazzy mixes. Herbert also reworks himself, putting a beat behind “The Last Beat” and using those found sounds from a tape measure to enhance his Doctor Rockit track “Tape Measure.” The second disc really displays Herbert’s versatility: from the tech-stomp of Recloose’s “Can’t Take It” to the clattering of Moloko’s “Sing It Back,” these are a few of the reasons why Herbert has become such a big name. The stuttering on “Koppchen” or on the sleazy listening of “Hoping” showcase Herbert’s interest in the management of individual sounds. It’s this attention to sound and detail that makes his work memorable.