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They’re funny things the old remix albums… A little bit of a case of ‘what’s-the-actual-point’ syndrome. (Beyond cashing in on that proven marketing brand-name of course. Slap the tag of a proven cash-spinning entity on the cover of that there musical jumble. Watch those units shift themselves out the freaking door. Left. Right. Left. Right.) There is a paradox within this parable you see. Presumably if something were popular enough to warrant the all-encompassing attention that would even prompt a fleeting thought towards the possibility of a remix effort – then it must have been a fairly decent sounding work to begin with (in most non-high-profile-celebrity-proffered cases)? To prompt those drooling idiots within the hoi-polloi to depart from their cash? To push said work to a position of notoriety at which point the prospect of a follow-up album of remixes even becomes viable?
And presuming this is the case – that the songs therein contained are of such a cracking calibre (in-and-of-themselves) to ensure such a minable vein of demand – good enough to have pricked up the ears and eyes of gentlefolk everywheres – then (to repeat myself) ‘what’s-the-actual-point’? Hmm? Why attempt to better something that’s pretty gosh darn good in the first place. That’s probably been hacked, chipped, grizzled and worried at – bashed and battered into a shape that approximates something approaching completeness – over periods unquantifiable. A song/tune/jingle wherein everything (every blip, bloop, beat and whistle) exists within the structure in a spot where it just logically/indefinably ‘SHOULD’ be. To change any portion would destroy the composition of the song entirely – would be a thing of utter folly. – an act of foolish sabotage.
Because let’s face it – no matter how quirky/polished/similar/different the remix of a well-known/much-loved tune turns out to be – inevitably you’ll still prefer to listen to the original. It’s a rare track indeed that can emerge from the massive shadow cast by it’s progenitor, puff it’s chest out proud and cry: “I’m better than you are… nyah-nyah nyah-nyah-nyah..” Perhaps tracks such as Tori Amos’ ‘Professional Widow’, Sia’s ‘Drink To Get Drunk’ and Pendulum’s corking Prodigy efforts could almost be so bold – yet they’d stand in fairly shallow company.
Alas the same holds true for this release – a remix effort of Atomic Hooligan’s ‘You are Here’. The aforementioned album was one of the surprise musical packets of the last year. A vibrant busy effort of hybrid pop-rock-breaks that strode audaciously into the vacant region left behind whence the Chemical Brothers’ did disappear disturbingly up their own gusty assholes. (push THAT button motherfuckers!!) Had you a hankering for some snappy oft-kilter pop numbers – then the DJ duo of Matt Welch and Terry Ryan were there to provide. And so with a portion of the spotlight shone well and truly in their direction – they followed it all up with a CD of reworkings by some of their more renowned nu-breaks brethren (including Lee Coombes, Ils, BLIM and those remix-whores Aquasky). The end product being much what you’d expect following my lengthy opening spray: lurking in the shade cast by its far more enjoyable precursor. The original ‘You are Here’ a much more fresh and effervescent affair than this at times painting-by-numbers approach to Break-ery. The catchy/punchy original tunes being lengthened, sprawled and drawn out in that way that only breaks producers can. Whilst there are some big names on board (provided you’re a breaks fan) and some decent re-jiggered efforts are thrown down into the can – ultimately my personal preference lies with the source material.
Perhaps give it a shot if you’re a major fan of the original (and a completist nut-job to boot). Otherwise try not to besmirch your memories of a damn fine debut album. Sit on your hands – twiddle your thumbs – and eagerly await the next FRESH Hooligan release.
