3 out of 5

Label: Thrill Jockey

Produced by: Greg Norman

When it comes to remix / remaster releases, the main thing I’m trying to assess: what more does this bring to the original?

From strictly a bonus perspective, on the physical, you get one extra previously released track – the version of Red Amber that appeared on a split with Mono, prior to the original release of this – and on the digital, three demo versions of album tracks which run pretty similar to their originals, if maybe (honestly) a bit crisper, and played just a dash quicker.

…Calling the demo tracks crisper does highlight a truth I’ve often felt about Pelican’s early albums: that their recordings / mixes / masterings were always a bit muddy, rather overplaying the low-end to, perhaps, keep the group in line with other Hydra Head metal, even while the group’s style was expanding beyond that. So the prospect of hearing modern remixes from original producer Greg Norman, plus a new master, was intriguing.

And I’ll get to that in a second, because I want to continue to justify the rating.

So: the remix / remaster does make for an entirely different album. Hands down. I am in no way a pro regarding such things, but though I admittedly do pay attention to them, even if you don’t, I promise you: this might as well be a different band. Which is ridiculous, of course, but that’s how drastically different is the mix. And just on that basis, that makes listening to it worthwhile: Greg Norman, and the band, wanted to rework what was maybe rushed at the time, with the producer specifically wanting to use their since-learned skills to flesh out the sound, and the change is simply stunning.

Setting that aside.

I’m a bit bummed that only one of those extras made it on to the physical, and that it was the already released track, if remastered. And I can understand it being cost-prohibitive to pack another LP into this set with the other demos, but I’d also think those who are buying this are fans who would’ve paid the extra – I know I would’ve. I should be appreciative they packed on the one song, as it was already a long album (there’s really not enough room on 2 LPs for the other songs), and I’m positive I’m overlooking how much thought went into the decision. But when I combine that with the lack of other things, I get a bit rankled: the lack of new artwork, and the absolute lack of liner notes. Even just reprint the long-ass blurb from the bandcamp on an insert somewhere – something that gives the remix some context, exactly because it’s so different. And that’s the only way I’m really factoring in my subjective take of which mix is best into this review: the two are so far apart, that not speaking to it on the album’s (lack of) liner notes is almost puzzling. Like: am I hearing this correctly? puzzling.

And so on to that subjective take: I… loathe this mix*. Like, throw it across the room disgust. Sections that once soared are dull; the slower bits drag. There’s no metal here – its been turned into a Red Sparowes bit of glittery instrumental rock. As though in an attempt to counter that aforementioned low-end sludginess, Norman completely over-corrected the other way, bringing the guitars and high-end way up in the mix, then (perhaps) Josh Bonati using the master to try to bump it up a little, which only highlights how flat those sounds are. It’s interesting as a comparison, for sure, and probably indicative of the group’s / producer’s changing tastes in music, and I will absolutely cop to being amazed at some of the nuance that’s been brought out in the guitars – notes and subtleties I sincerely never heard. The bass and overall percussion do sound more organic on the whole. However, all of this is at the sacrifice of so much of what made the original recording work (even with it being not my favorite Pelican disc) that the “interesting” factor doesn’t mean much. I’d say only the moments that kind of function as aural overload, with both guitars blazing and the drum hitting high hats and etc. (March Into the Sea’s or Sirirus’ more intense bits) gain ground in this mix, but otherwise, I don’t know if I can stomach listening to this again, so anathema is it to my ears.

*My main consumption of this was digitally; that informed my response. When I listened to the album on vinyl, using the same headphones… the experience changed quite a bit, for the better. The bass and drums feel a little beefier; the guitars are more leveled in the mix while maintaining the nuance I believe Gordon / the band wanted to bring. Though my overall feeling of preferring the original still stands, it’s not a feeling loaded with such revulsion toward the remix – it’s just different; the experience is, perhaps, best mixed and mastered for vinyl. I’m probably a piece of poo for doing an audiophile thing via digital in the first place, but a guy’s gotta get his listening in where he can.