Most Helpful Customer Reviews
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
music for the secular spiritualist., February 4, 2002
What really separates Elliot from his contemporaries (if he even has any) is that while what he is doing can be explained by countless art theories, it does not need the theories to be understood as music. For instance, I would rather read Cage than listen to him. In contrast is an album like this. The first time I heard the remix of La Dispute I cried, and then I hit repeat and listened to it over and over again. Now, certainly Yann Tierson deserves credit, but additionally there is a consistancy in all the Third Eye Fnd. albums, from In Version, Semtex, Ghost and on up the time line.
One reviewer said that this album is a good place to start. I don't disagree, but when arguing with my friends I've suggested that You Guys Kill Me is a better starting place. I think though that both of these later albums are more refined, and have a higher production value, but that without the earlier albums (which are great too, some say better) as a reference point you are given an incomplete picture.
What the new listener needs to understand about this album is that it is not another dance remix album. This is the end result of a drummer putzing with a four-track, several albums later. It is sophisticated, without the sophistry. It is beautiful, without being sentimental.
(If you work for an Ad Agency, please do not use this to sell cars).
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1 of 1 people found the following review helpful:
5.0 out of 5 stars
A good introduction to Matt Elliot, July 18, 2001
This has to be without a doubt the best release from Matt Elliot. It deftly combines the best elements of previous albums: The distorted, wobbly drum 'n' bass, the melodramatics of the plaintive, otherworldly vocal snippets, deconstructed orchestral themes and waves of distortion and disorienting white noise. Elliot completely rips apart the source material and reassembles it so that the originals peek through what is essentially a new composition. The only comparison I can make is a Danny Elfman soundtrack. Albeit, a very dark, brooding and playful Danny Elfman soundtrack.
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2 of 3 people found the following review helpful:
4.0 out of 5 stars
Memento Mori, September 1, 2001
Matt Elliot's collection of remixes of other artists' material is the ultimate confirmation of his ability to transform everything he touches into a dark and solemn lament. Songs that were once lush and animated take on a groaning and other-worldly quality at his hands, biodegrading into funeral marches that ultimately serve as their own obituary. So it's topical in this media-frenzied world of instant obsolescence and immediate disposability that works of art should ring their own death-knell, and that Matt Elliot's parting shot as The Third Eye Foundation ends up reminding the remixed artists and their audience of their own mortality.
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