Create a “daring” remix for Real World Records and win a Universal Audio Apollo audio interface

If you’re stuck in a lockdown rut, a new remix contest hosted by Real World Records - an offshoot of the famous studio complex - could be just the thing to break you out of it. Specifically, your job is to remix Love, a recent single from West African musical collective Les Amazones d’Afrique that’s taken from their new album Amazones Power.

The track blends Malian vocals and grooves, and Real World is encouraging you to be “daring” and “take the song to new and unexpected places”. Once you’ve entered the cost, the mix pack you’ll be able to download includes stems from the initial recording session in Paris, elements of Doctor L’s (AKA Liam Farrell) production, as well as a new Malian funk guitar part by Sountoucoumba “Salif” Koné, a member of Les Amazones d’Afrique’s live band.

The contest is being run by Real World in association with Universal Audio, which will be providing prizes for the winners. The overall winner will receive a Universal Audio Apollo x8, second prize is an Apollo x4, and third prize is an Apollo Twin X QUAD (3rd). There’ll also be a copy of Les Amazones d’Afrique’s album on double coloured vinyl and a selection of Real World and Universal Audio merchandise for each finalist. In addition, the winning remix will be considered for release as a digital single by Real World Records.

The winning tracks will be chosen by a panel which includes producers Jacknife Lee (U2, The Killers, Snow Patrol), Che Pope (Kanye West, Lauryn Hill) and the engineers of Peter Gabriel’s world-renowned Real World Studios.

Find out more about how to enter and read the full rules, terms and conditions on the Real World Records website. You have until 20 May to submit your remix, so get cracking.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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