It was exciting having the opportunity to work on a Moby remix so I really wanted to produce something unique. Pale Horses was the perfect track to attend as it presented a mood I felt I could reflect respectfully.
I wanted to maintain the feel of the vocal so I focused on the depth while keeping a liberal tempo. I began developing a new texture around the voice starting with one of the original synthetic string patterns (which I processed several times) and continued building on that until I had a multiplex of layers to weave and structure. This body grew quite dense so I could be sparing with percussion, which helped increase the sense of space and acoustic reality. The piano arpeggio was an idea that I almost dismissed, but that coupled with some original understated vox elements became interesting focal points of the mix.