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album // Remixes 81 - 04
The cynical among us Depeche Mode fans would
no doubt argue that this release is nothing more than an exercise
in re-hashing the band's back catalogue, a convenient way to cover
up the fact that by now we should be hearing the output of Dave
Gahan and Martin Gore's first joint song-writing sessions.
There is certainly an argument for this given that this has been
made available in 4 different editions - single CD, double CD, limited
edition triple CD and vinyl boxset. We Depeche fans have always
been format whores, but even I'm reluctant to spend out on all four,
and so, after an agonising wait caused by an unusual lack of efficiency
by Amazon, settled on the triple CD edition which collects all of
the various mixes split across the other formats and adds a whole
array on new mixes.
It certainly looks great - a smooth carboard box
containing three large slipcases and a full booklet featuring words
from Paul Morley (who also wrote liner notes for former DM
touring partner and original Mute artist Fad Gadget),
all clevery designed by Intro in a futuristic, contemporary style.
Depeche Mode have always respected and appreciated
the benefits of remixes - whether as a basis for releasing multiple
formats for fan's hungry consumption, as a method of encouraging
non-fans to buy their material after hearing a great mix on the
dancefloor or by commissioning a mix from a collectable act in their
own right (eg Underworld), or for the simple ability to hear
a track interpreted differently - exploded apart, magnified and
reassembled. Depeche Mode were early starters with the concept of
getting another artist on board to remix a track, rather than just
getting the producer to extend the album version - there are examples
of both here, from the Depeche Mode and Daniel Miller mixes
of 1981's 'Shout' and 'Just Can't Get Enough', through mixes by
On-U's Adrian Sherwood ('People Are People', 'Master
And Servant'), Portishead ('In Your Room'), Air ('Home'),
Kruder and Dorfmeister ('Useless'), right up to the present
day where Mike Shinoda - of one of the US' biggest bands,
Linkin Park - is able to completely strip apart 1989's 'Enjoy
The Silence'. There are plenty of examples of both producer and
commissioned remixes here. Not that Depeche always liked the results
- the Underworld Hard mix of 'Barrel Of A Gun' angered Martin Gore
after being sped up from just over 80 BPM on the original track
to just under 150, and, according to Depeche's songwriter, didn't
contain one sound from the original.
Unlike some examples of remix compilations, quality
is not a problem. This is probably down to the robustness of the
underlying material, the choice of remixers and the available plethora
of mixes that Depeche have accumulated over the course of their
23-year recorded existence. Unlike other remix albums too, the material
doesn't sound dated to me either - unlike, say, the Can remix
album Sacrilege which short-changed the originals by deploying
some drum n' bass remixes in a fashion that now sounds horrendously
old fashioned. Depeche mixes have weathered very well indeed, making
this a very listenable, alternative best of collection. Of course,
I had 99% of these tracks before, but there is something incredibly
satisfying about having some of the rarer mixes in one convenient
package - though quite where you are supposed to find the time to
listen to around 4 hours of music is beyond me.
Disc three is where the new mixes kick in - aside
from the aforementioned Shinoda reinterpretation, the Goldfrapp
version of 'Halo' (see below) is also included, along with mixes
of the seminal 'Photographic' by Rex The Dog, a subtle mix
of 'Little 15' by Ulrich Schnauss, a full-on metal interpretation
of 'Nothing' by Headcleanr, a new mix of 'Lie To Me' by LFO's
Mark Bell and a mix of Violator's 'Clean' by Norscq.
Additionally, Mute have released a series of remixes that have been
languishing in the vaults for download as either individual MP3s,
or as a £10 pack with artwork, from a Remixes 81 - 04
secret site - more expense for the DM fan, but equally a chance
to complete a collection with mixes that were only ever rumoured
to exist. Sadly Phil Spector's version of 'A Question Of
Lust' isn't among these.
single // Enjoy The Silence 04
Heralding the release of their remix compilation,
Depeche Mode have had their seminal 'Enjoy The Silence' remixed
- or more precisely reinterpreted - by self-confessed DM fan Mike
Shinoda. Shinoda is a member of Linkin Park, and the
result, not surprisingly, sounds like Linkin Park covering Depeche
Mode. Shinoda contributes guitar, drums and keyboards, leaving you
speculating as to what is actually left of the original version.
The result is the kind of rise-and-fall thrash with cracked electronic
passages that Linkin Park specialise in, and whilst it's not a touch
on the original, it's fraught, edgy and emotional, Dave Gahan's
vocal finding a niche among the buzzing guitars.
CD1 also includes a remix of 'Halo' from label-mates
Goldfrapp, which also features additional vocals from the
duo's Alison Goldfrapp. They sculpt the track into a chilled-out,
ethereal piece, mining the same beat-free sonic territory as their
first album, Felt Mountain, featuring harps and strings
alongside Depeche's original synths. The mix also completes a circle
- Goldfrapp remixed Marilyn Manson, who has just covered
'Personal Jesus', a track which originally appeared on Depeche's
Violator album, alongside 'Halo', which Goldfrapp have now
remixed.
CD2 includes three additional remixes, two of 'Enjoy
The Silence' (by Timo Maas and Ewan Pearson) and a
mix of Some Great Reward's 'Something To Do' by Black
Strobe. The eight minute Timo Maas mix is a strange, almost
minimalist reading of the track, with a clattering 4/4 beat and
the addition of some dark synths and strings. Ewan Pearson's radio
edit is a reverential modernising of the original, with fluttering
arpeggios and a more up to date beat; it is the electronic purist's
mix, unlike Shinoda's metal reworking. 'Something To Do' is one
of all-time favourite Depeche Mode songs, and the hard electro groove
dispensed by Black Strobe manages to keep the original version's
bleak, sinister edge, albeit wired up to a punishing electrical
current.
The 4-track limited edition third CD for 'Enjoy
The Silence' which was released on 22 November contains some of
the best mixes, and is definitely worth tracking down. Richard
X's mix of 'Enjoy The Silence' is a superb, retro mix with the
crispest snares this side of Cybotron, while Ewan Pearson's
extended mix tweaks his single version over a cool eight minutes
with acid noodlings Richie Hawtin would be proud of. The consistently-excellent
Cicada turn in a typically on-point mix of 'World In My Eyes', a
throbbing, entrancing dancefloor-hugging number, while 'Mercy In
You' gets the BRAT treatment, taking almost the entire original
only ditching the beat in favour of a minimal hip hop break.
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