专辑简介

by Jason BirchmeierRemix Tomorrow Goodbye comes across more like a sampler for the down-tempo, experimental side of the Force Inc. label than it does as a collection of Auch remixes. While the remixes do stay in line rather closely with the glitchy clicks + cuts sound explored on Kiss Tomorrow Goodbye, the enlisted producers take the music far into their own domain, returning with remixes bearing their distinctive stylistic trademark. This may frustrate die-hard Auch fans who want to hear loyal twists on the original material. Fortunately, though, the enlisted remixers are all from the same clicks + cuts school as Auch and represent a similar style, for the most part. And, in a way, this remix album actually ends up being a better album than the original, somewhat due to the variety of approaches, more so due to the amazing remixers, many of which surpass anything Auch did on Kiss Tomorrow Goodbye. Of the highlights, Farben's laid-back contribution thumps along at a mid-tempo pace, aided by a steady handclap-like rhythm and a bouncy bassline. In addition, Gez Varley heads for dancefloor territory with his tracky minimal techno take on Auch, laying down a track of nothing but rhythm and echoey reverb that chugs along for a progressively intense seven minutes. Jasper does much the same, turning in another dancefloor-worthy minimal techno track that again is driven by a heavy low-end rhythm and some modulating reverb tones that slither across the wall of thumping bass tones. Many of the other remixers here head for more ambient, experimental territory, sometimes resulting in engaging results (Full Swing, Peter F. Spiess) and sometimes in messy awkwardness (DAT Politics, Auch). In the end, though, there aren't many weak moments here at all, and never once does the album flow predictably. It's somewhat ironic when a cast of remixers comes up with a better album than the producer's original work (which was admittedly fine in the first place), but this irony is a testament to the strength of Force Inc.'s remarkable stable of artists. Not many labels can churn out over an album a month steadily and have them be all of above-average quality for the most part, and if not above-average than at least innovative.