Faust
Freispiel

Love this record? Hate it? Tell us.

What their label says...

A tribute to the 30th anniversary of FAUST feat. Remixes by Howie B., Schaffhäuser, Soft Cell (Dave Ball), Kreidler, Sofa Surfers, The Residents, Funkstörung a.o. Sometimes a remix is like a translation from one language to another. If it works it carries the essence of the original and adds something, another texture or layer of meaning. At the least it ought to be faithful to the spirit of its origins. The best can create something entirely new, whilst allowing us to hear the debt which is owed to the source. If any band is ripe for some re-mixing, it is Faust. The elements that combine to form their music have already been through a process involving a stripping down, transformation and reformation both in the studio and in 'live' performance. To offer these elements to those who are influenced by and in sympathy with Faust's working methods seems an ideal situation for both translation and homage. These remixes of some of the 1999 cd Ravvivando do revitalise an already powerful album and each remixer offers an idiosyncratic take which, in most cases, enhances the original. For example, there are three versions of T-Electronique and all show an affinity with the original whilst delivering something fresh. Mathias Schaffhauser's remix opens the album with a sinuous bass groove stretching the rhythm and shifting the textures of the percussion. It lopes along with some dabs of keyboard to remind you of the original. But it is a relaxed and flexible version. Sofa Surfers fuse it with Apokalypse and again construct a tight groove but also layer in some of the harshness of the keyboard. The Residents have an entirely different approach to the track and take it to places which obviously the band approve of. Another popular choice, Carousel II, doesn't offer any great shift of perspective on Irmler's original giddy organ construction. All three versions are fine but I wondered why they hadn't chosen, perhaps, Ein Neuer Tag to work on instead. Paul Donnelly, Tangents 2002