Ten years ago this week saw the release of Erasure‘s slightly odd remix album/EP Pop! Remixed. Packaged as CDMUTE405, the catalogue styling normally used by Mute Records for singles, it appears that it was originally intended to be released as a four-track EP, a version which did end up being released as a download version. The CD, though, was a ten track album, with an odd mixture of new and old mixes.
It opens with the entirely pointless 2009 Mix of the lovely Always. It is slightly different from the original, with a punchier bass and some improved squawks in the background, but the only difference that the casual listener will spot is the inexplicable omission of an “and” from the first chorus. It was there in the original, and you’ll never quite get used to its absence in this version. But grab yourself a decent pair of headphones, and there’s plenty to enjoy here in its place.
Komputer turn up as the first guest remixer to tackle Victim of Love. They were, obviously and unsurprisingly, big Erasure fans, and so they have changed relatively little here. It would have been a great mix, if it had been released in 1987, and honestly it’s fine for 2009 too – it’s just a little unambitious. Komputer are the people who, most recently, were to be found experimenting with post-Kraftwerk electronics, but there’s little sign of that here.
It’s nice to hear Freedom on here, as Erasure‘s Loveboat era tends to get forgotten somewhat – perhaps justifiably so. Mark Picchiotti has clearly had a lot of fun with this version, turning it into a flamenco mix, with some added guitar work. Part of the problem is the source material, to be honest – Freedom is fine as a song, but it isn’t great. The other part is that Picchiotti isn’t a flamenco guitarist – his forte is overlong, over-repetitive, dull house, and so inevitably this mix is a bit of a mess. Not an unpleasant mess, but it would have been much better to have kept it as a short novelty on the original single rather than a full mix on this compilation.
Drama!, long overlooked by Erasure themselves, gets an overdue remix from Andy Bell himself, aided by DJ Jason Creasey. It’s a bit more contemporary than any of the tracks we’ve heard up to this point, but there’s also little new here. At this point, you could be forgiven for wondering why Erasure bothered with this release at all, but it’s worth remembering that in 2009 they were still in the throes of the creative downturn that had first hit them with the aforementioned Loveboat at the start of the decade. Just three studio albums had appeared in that time (plus Andy Bell‘s first solo effort), and, despite some brighter moments, the quality was never quite up to the standard of the preceding decade.
One-off collaboration Avantara turn up next, for a banging but somewhat dull remix of A Little Respect. The song works well to a huge Euro beat, but there just isn’t a lot of variation between each section here – it sounds a bit like Euro-by-numbers. Then Swedish producers SoundFactory turn up to tweak Fingers and Thumbs (Cold Summer’s Day), and do a slightly better job, although again, there’s little to write home about.
Finally, a mix that actually hits the mark. Soil in the Synth‘s reworking of Ship of Fools is brilliantly glitchy without being challenging to listen to, and spacious in a 1980s way, without being too long. It’s quite brilliant – if there was a reason to buy this release, this surely must be it.
Erasure‘s fascination with Manhattan Clique during this era has always been a bit of a mystery to me – they’re fine, they definitely have good taste, and they know how to jazz up an eighties or nineties classic. They’re also a bit formulaic, to say the least – they occupy a similar space in the world of music as Richard X, except because he’s always doing soundclashes, at least his tracks don’t all sound the same. As “always”, Manhattan Clique‘s take on Always is fine, even if it does sound a little too much like a chipmunk remix at times – but it does sound exactly the same as all their other mixes. Which is fine, if you like that kind of thing.
Next, Electronic Periodic take on Chorus, with a few naff handclaps added in, for some reason. Oddly, the deeply analogue sound of Chorus makes it seem a little more contemporary than most of the tracks here, but the handclaps don’t really give the retro charm that was likely intended, and the weird gaps in the vocals don’t entirely work. Some of the extra sound effects do, though, so this is really a bit of a mixed bag – like this release as a whole.
Finally, closing this release out, Vince Clarke himself turns up to remix Stop! It’s an odd candidate to take on, and I can imagine he probably enjoyed the challenge of trying to turn it into something more contemporary and modern. It just about works – I’ve never been entirely convinced by this song, but if you like it and aren’t too protective about the original, I can imagine you would enjoy this remix. For me, it just about makes the grade. If nothing else, it has a good bouncy beat and bass line.
So Pop! Remixed doesn’t exactly come with the strongest recommendation, but it’s not bad either. Unlike their Club remix EP, which was finally commercially released around the same time, I wouldn’t go out of my way to find a copy, but it’s not something I would be rushing to get rid of
You can still find Pop! Remixed at all major retailers, at a bargain price.