Rob Alias
Group: Members
Posts: 7
Joined: July 2015 |
 |
Posted: Dec. 03 2015, 23:50 |
 |
My immediate response with this is where on earth do I begin?! In order to provide points of engagement I have decided to provide a quick critique 'track by track'.
1) Let There Be Light (York Remix)
In so many ways 'The Songs Of Distant Earth' represented a return to form, a coherent musical narrative referenced to the writing of Arthur C. Clarke, at a time when Mike was being repeatedly referenced, discovered and cited within the sphere of 'ambient' music - or rather by way of early 1990s dance music. This remix does not deconstruct the original to any great extent, instead it appears to situate the track within the 1990s 'ambient' tradition - ironically if you think Enya and Enigma you will be in the approximate area of inspiration. It doesn't offer a particularly interesting or original re-contextualisation - thus it is possibly the least offensive track on offer.
2) Far Above The Clouds (York Remix)
The original track appeared to have been an attempt to reference a model offered by dance music, here that idea is extended even further. Notably as a remix it lacks little in terms of restructuring for the dancefloor and the needs of DJs operating in this field of music - thus it is unclear for whom this is intended. Generic, lacking inspiration and originality - why bother.
3) Ommadawn (Oldfield & York Remix)
Why? Why?! 'Ommadawn' occupies a special place within the canon, possibly being one of Mike's most engaging and enduring works for those venturing beyond 'Tubular Bells'. Here the concluding section from Part One is subjected to the 4/4 remix treatment - by way of the generic dance music model of the mid to late 1990s. If you liked Chicane or Robert Miles then this might appeal - but it is depressingly predictable and one has to wonder for what audience this was intended. Structurally it fails as an 'operational' remix - musically it amounts to an unimaginative pissing on greatness.
4) Guilty (Oldfield & York Remix).
A confession. I have always hated 'Guilty' - a strange pseudo-disco effort that lacked authenticity whilst smelling of ironic cheese. Here the cheese is subjected to the same stylistic 4/4 processes and effects over nearly 8 minutes. The original was pointless - this even more so - again - what was the intended audience?
5) Tubular Bells (Oldfield & York Remix)
ANOTHER remix. Although here the term has a resonance relating to the re-situating and addition of new elements. But again the track is built upon a 4/4 pattern that is generic, predictable and unimaginative. The 1990s return with a vengeance, taking a track and rendering it as a pointless episode in button twiddling and musical onanism.
6) To France (Steve Brian and York Remix)
Autotuned, structurally incoherent (even for an apparent 'radio' mix), take a great track and shit on your fans. Why? Why?!
7) Northstar (Oldfield & York Remix).
Oh look. 4/4 beats. Again. Sigh.
8) Moonlight Shadow ( Steve Brian & York Remix)
By this point the predictability of the general approach should have become absolutely apparent, 4/4 structuring and an entirely generic approach that becomes ever more irritating as the template unfolds. Again the question remains - just who is this intended for?
9) Guilty (Electrofunk Remix)
Electro what? This isn't funky (Funk is driven by the '1' - and in the UK the term 'Electrofunk' has a very particular cultural meaning, being (properly) a generic term for music from within Hip Hop produced with particular emphasis on electronic production). As stated above I have always hated 'Guilty' - here it is so bad they tried to remix it twice.
10) Tubular Bells 2 (Oldfield & York Remix)
By now it is all too familiar. 4/4 beats. Hints of Jarre, the bass line lifted from Tubluar Bells' concluding section - but why? What is the point? To what end? FOR WHAT AUDIENCE?!
There is so much about this project to hate - the lack of originality and an apparent failure to engage with each track appreciatively and individually. Instead almost every track is subjected to the same stylistic reductions, 4/4 patterns and production touches.
Listening to the album the question continually arises. Just who is this meant for? Much of this is derived from the highly generic patterns of mid 1990s European inspired dance music. But even here the structuring of the tracks suggests that the music was never intended to exist within this particular field of music - the lack of a DJs touch here is obvious.
To be clear, Mike's material has always sat uneasily in respect of remixing, or rather, a particular understanding and implementation of the remix. 'Boxed' offers an inspired and exemplary example of how a remix could allow for a new presentation of music deemed familiar - allowing for subtle shadings and new emphases to emerge.
But in the world post Moulton / Gibbons / Levan / Pettibone et al, the 'remix' means something new, often involving the introduction of entirely new material. Much of Mike's 1980s and 1990s output subjected to this treatment failed because the approach appeared to be little more than an attempt to take advantage of the 12" format - with no apparent understanding or appreciation of what a remix could actually be, or the original intention behind the idea (extend, expand and enhance the 'good bits' - with a nod to the dance floor).
Thus for anyone familiar with this tradition the efforts here will, to use the vernacular, sound half-arsed and risible.
The fact is that it did not have to be this way. Mike's original material could be remixed far more imaginatively and in a highly nuanced way. It can exist and function far beyond the tyranny of 4/4 structuring and 125-135bpm.
|
