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The second CD comes with some specialized, for lack of a better word, treats. Boris’ soft twisting of “Everybody Loves You” is largely faithful to Elfman’s original, while Zach Hill’s take on “Kick Me” and Xiu Xiu‘s remix of “Serious Ground” both sound like their gear is on the verge of obstructing the songs. The remainder of the first record is a littered dancefloor, though the glitter, confetti, and sticky cups come in many sizes, shapes, and temperaments. By the time Kid606 gets ahold of the thunderous riffs of “Sorry”, things start to resemble the original album a bit more.īut if you thought that the original recording of the aforementioned love ballad “We Belong” was a little on the eerie side, Rafiq Bhatia takes the creep factor and runs with it into a haunted mansion. If a halfway musical electronic noise can be produced, it somehow found its way into this remix. 33EMYBW’s remix of the same song is even less recognizable. Having a remix album based on Big Mess merely follows the pattern of delivering the unexpected.įirst up, Squarepusher disassembles the morose “We Belong” and reconstructs it as an Aphex Twin, which in no way prepares you for the Little Snake Dying in the Club Edition of “Happy”, where you need to duck your head lest you get hit with a flying piece of the kitchen sink. Elfman’s eventual appearance at Coachella in 2022 drew much kinder press, lavishing, in fact. For the first time since the disbandment of Oingo Boingo, he was writing uncommissioned songs, and they were striking hard. There was no unanimous praise – PopMatters’ Chris Conaton found the whole affair exhausting – but the composer had made his mark.
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He had traded any trace of Oingo Boingo in his sound for Peter Murphy, combining borderline-metal guitars with theatrical glam.Ĭritically speaking, Big Mess had struck quite a nerve. Sixteen more songs tumbled out, giving us a dark pop album overflowing with enough sarcasm and cynicism to give Batman pause. Since we all know what happened in 2020, Elfman used the extra time to write more songs in the same vein as “Sorry” and “Happy”. Leading up to the 2020 Coachella festival that never happened, Elfman had assembled a band to help him premiere two new songs, “Sorry” and “Happy”.
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A former member of Oingo Boingo, Elfman has spent decades composing music for films and TV shows such as The Simpsons and many different Tim Burton productions, including Batman and Beetlejuice. If you are unfamiliar with Big Mess, it’s the Danny Elfman album that took many by surprise. If you have trouble swallowing IDM-laced electronica, industrial, and darkwave variations of a set of Danny Elfman songs that were mighty confrontational in the first place, then the conventional wisdom of remix albums will hold. If you think a musically diverse double album bests anything that Big Mess ever had to offer in the first place, then it does.
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Does that make it better? That’s not an easy question to answer. achieves so much more than Big Mess does. With 21 songs spanning an hour-and-a-half, Bigger. Messier.īy surrendering creative control to a list of artists he trusts, Elfman has thrown the doors wide open to a wild variety of outcomes. Sometimes these remix collections offer a unique peek at an alternate dimension, and other times they make you wish you were listening to the original thing. Too often, remix albums are little more than half-hearted attempts to round up some exposure for DJs and keep the primary artist’s name in rotation to keep fans happy. Here, we have a remix album based on Danny Elfman‘s bone-crushingly aggressive 2021 album Big Mess that creates an impact comparable to its parent album.