MUSIC FROM THE ORIGINAL MOTION PICTURE
RED PLANET
PANGAEA 186 810 063 2

In the previous issue we mentioned an unedited version of the track The
Tower That Ate People (remix), even if we had not yet known when it would
actually be released.

This question has now been answered thanks to the soundtrack of Red Planet,
a science-fiction film which has just come out in the States and which
during the Christmas season promises to be a box-office sell-out in Italy
thanks to spectacular effects combined to a captivating story.

The soundtrack mainly includes music by Graeme Revell, as well as tracks by
other artists such as Sting and Emma Shapplin.

What is striking in the CD (apart from the remix of track number 11) is
track number 1 simply called The Tower That Ate People. This initially had
led us to think that they had also intended to include the original OVO
version. Nothing could have been more wrong, seeing as we discover a third
version, never previously released and different with respect to the remix.
A most welcome surprise!

But lets analyse these two new versions of The Tower That Ate People in
comparison to the OVO version.

It's a considerably different version in which Gabriel's vocal track has
been modified in the phase of mixing so as to result even more sharp and
metallic and the beat has been accentuated and combined to electronic sounds
(especially sounds of keyboard and synthesiser), overdubbed and emphasised
by deliberately exaggerated echoes and reverberations to probably make the
complete sound closer to the requirements of the images. Also in the
intermediary parts, in which the atmospheres subside and slightly slow down
the melody, the sensation of suspension seems less obvious, as if meaning to
keep the general suspense continuously tense.

The remix version, however, is highlighted by the insertion of long
instrumental parts, made even stranger and abnormal thanks to Steve
Osbourne's valuable work on mixing, managing to never create moments of
standstill during the full 6 minutes. The beat stands out considerably with
respect to the total arrangements and the electronic acoustics seem at times
to actually override Peter's voice. The only thing one can say is that it's
a decidedly futuristic version, which is perfectly in line with the film's
spirit. We know from well-informed sources that this remix of more than 6
minutes appeared, apart from this soundtrack, also in a Mexican compilation
and above all as a Virgin Mexico promotion in less than 50 copies, sent
exclusively to national radios. A gem for Gabriel collectors who, I think,
will have a very hard time to try to get their hands on a copy.

Stefano Tucciarelli aka Mr, Mozo Rising
Translation by Nathalie Sutter

TRICKY
MISSION ACCOMPLISHED
ANTI 6595-2

Awaiting his new album (forecasted for summer 2001), the English artist
Adrian Thawes, alias Tricky, has released, under a new label, a limited
edition EP with 3 new tracks and a live track, which most probably will not
be published in his new work.

Tricky is not an artist who is easy to classify: as from his first album
entitled Mazinquaye in 1995 up to his latest work, he has covered extremely
diverse musical styles, from the innovative trip hop of Aftermath up to the
most extreme hip hop of his second album Pre-Millennium Tension in 1996,
passing also through interesting incursions in dance and in experimental
electronic music.

This small sample, which was published recently, shows us a musician in
constant evolution for the spasmodic research of new musical borders to
discover, assimilate and transform.

The reason for which we show interest in this project concerns the curious
sampling of Peter's Big Time in the track which actually gives the title to
the EP.

To say the truth, even though Tricky actually sings the words "Big Time, I'm
on my way, I'm making it", it's difficult to make out the original sample,
which is completely submerged by an obsessive beat and by voluntarily
distorted and aggressive acoustics.

To remove any doubts we may have about this, the credits inside the CD
digipack do actually confirm the use of the sample Big Time.
Disregarding its debatable musical value, this track reveals an eclectic
character (who in the span of 5 years has influenced many contemporary
artists) with an irrational musical vision, which can even at times be
classified as psychotic

Even more irrational however can we consider Peter, who, always more
fascinated by rap/hip hop, imperturbably continues to concede authorisations
for sampling musical parts from his tracks precisely to artists of this
style of music.

The other tracks of this CD confirm the previous opinions. Accelerated
beats, lyrics declaimed at the speed of light and sound alterations, which
are always more accentuated, give a result which will surely appeal to fans
of this type of music.

Stefano Tucciarelli aka Mr, Mozo Rising
Translation by Nathalie Sutter