London’s Loraine James can be thrillingly unpredictable. Her beats roll out almost with a mind of their own; you never know quite where one of her tracks is going to go next, and the same goes for her remixes, which often bear little overt relation to the original songs. In recent reworks for Jessy Lanza, Max De Wardener, and Lusine, James all but obliterated her source material, pulverizing jagged beats and brightly colored synth tones into the consistency of aquarium gravel. She enacts a similarly radical transformation upon Kelly Lee Owens’ “Wake-Up.” In its original form, the closing track on the Welsh electronic musician’s 2020 album Inner Song is a deep breath set to a flickering pulse, a positive affirmation—its lyrics urge mindfulness over digital distraction—in the form of a reassuring analog glow. In James’ hands, the song turns turbulent. She has both sped up the tempo and added torque to the groove, twisting Owens’ lilting pulse into forceful syncopations peppered with stuttering hi-hats and kicks; she has also chopped Owens’ voice into a million pieces, syllables glinting like flakes of mica. Despite the breakneck tempo, James’ remix isn’t actually all that heavy; it lumbers in its more percussive passages, but elsewhere it soars weightlessly. And she has preserved the song’s rosy sunrise hues, albeit rounding them out with faintly detuned streaks of dissonance. If Owens’ song is about acceptance in the now, James’ remix hurtles into an overwhelming future, squinting from the glare.