A cold climate heart, warmed by a red-hot remix.
Born from the stark, beautiful isolation of Lutruwita (Tasmania), the duo Sumner (Chloe Wilson and Jack McLaine) have long translated their environment’s haunting grandeur into crystalline electronic pop.
Their journey, from a Triple J Unearthed discovery to PNAU collaborators and festival stalwarts, is one of patient, powerful evolution.
Their 2024 single, ‘Half Myself Without You,’ captures their signature tension: a deeply intimate confession wrapped in expansive, yearning soundscapes.
Now, the SUPER-Hi remix recontextualises this personal ache for the communal dance floor, proving the song’s emotional core is not diminished but amplified by volume and velocity.
The original ‘Half Myself Without You’ is a testament to Sumner’s strengths, Wilson’s compelling, earnest vocals detailing a fracture in selfhood, set against McLaine’s production that feels both chilly and warmly synthetic.
The SUPER-Hi rework wisely preserves the song’s heartbreaking spine, that titular phrase, “I’m only half myself,” remains the devastating anchor.
However, it builds a formidable new architecture around it. Where the original simmers with melancholy, the remix erupts.
A driving, four-on-the-floor pulse is introduced, punctuated by buzzing synth arpeggios and soaring, cascading breakdowns that feel engineered for sunset festival moments.
This transformation is more than a mere tempo increase; it’s an alchemical shift in perspective.
The isolation and powerlessness hinted at in the lyrics are met with a sonic response of immense power and rhythmic solidarity.
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The remix morphs a private longing into a shared, cathartic release. It’s a logical step for a band whose live shows, forged even through personal challenges like Wilson’s epilepsy diagnosis, are renowned for their electric energy.
In the SUPER-Hi remix of ‘Half Myself Without You,’ Sumner achieves a compelling duality.
It honours the authentic, landscape-deep introspection that has defined their career since ‘Stranded’, while simultaneously reaching for, and effortlessly grasping, an anthemic, hands-in-the-air grandeur.
It demonstrates that their songs, rooted in the Tasmanian wilderness, are built to travel, connecting solitary hearts across crowded rooms through the unifying language of rhythm and release.
