Around a year ago I gave “Dissident” a generally positive review, as a decent piece of synthwave work (from the historically non-synthwave Andy Bell, not the Erasure one etc.), with the 20-minute title track earning particular praise but some of the other tracks feeling a little experimental and running out of steam. Now, a year on, Glok have enlisted the help of a stellar list of guests to remix the tracks, and in some cases fully realise pieces that perhaps felt a little bit underbaked on first outing.
Many of the tracks play on the safe side, rolling steady DJ-friendly electro and progressive house vibes that unfold gradually and without drama. Richard Sen’s version of “Dissident” and Franz Kirmann’s version of “Kolokol” are among these, although the latter’s extra dub version at the end of the release is perhaps more interesting than the main mix. Glok’s own extended mix of “Pulsing”- of which there’s a 15-minute version, but the album version has been cut down to 7- exemplifies the patience of just letting a groove, that’s acid and house without being acid house, meander and fade in and out, and the resulting sense of satisfaction- with its exit through the ‘ambient’ door slightly unexpected.
Others allow themselves to break off in different directions. The unexpectedly funky bouncing-bass groove and glitchy dance-rock of Minotaur Shock’s version of “Weaver” comes from the leftfield. C.A.R. takes the trip-hoppy original of “Weaver”, strips it down and spaces it out into something much more atmospheric. Timothy Clerkin’s 90bpm take on “Projected Sounds” elasticates and rubberises the groove and gives it a kind of adventurous swagger, covered in many layers of top-end pretty sounds- though the screaming guitar loop that arrives halfway through does feel a touch noisy and invasive.
Special mention obviously has to go to the late legend Andrew Weatherall, whose contribution to making the electronic music landscape as diverse and rich as it is has been justifiably much discussed, but really can’t be understated. Weatherall mixes were never predictable, and so it is here, with a version of “Cloud Cover” that goes for soft synth-symphonic electro, nicely underplayed but always steadily evolving- and with a fitting and almost symbolic catch-you-out tempo change ending.
The Jay Glass Dubs Reboot of “Exit Through The Skylight”, curiously, ends up sounding a little more old-school-Weatherall-like than the Weatherall remix thanks to its Sabres Of Paradise-ish use of slow delays in its electrodub. The Maps remix of “Pulsing” embraces the synthwave idea most of all, with its bright chord breakdowns, but enough complex production to prevent it from sounding truly retro.
To top it off and add value, an eight-minute edit of the original album’s 20-minute title track, that sounds more and more Tangerine Dream-like the more you listen to it, wraps things up nicely.
There was certainly nothing wrong with the original album, at all, but if anything this remix album manages to make it better- fully realising and fleshing out some of the sketchier tracks, and adding more breadth thanks to the diverse range of contributions. Rather than ‘milking another remix album’ as other labels are sometimes prone to, Bytes (as part of the Ransom Note group) have rolled out an essential electronica work that absolutely deserves to be listened to, even if the original passed you by.