Aux-In

I thought I would give this album and its remixed counterpart a try after hearing, and liking, OceanLab's "On A Good Day (Metropolis)." Here are the results:

TRACKLISTING

The CD packaging is of the paper variety with a construction that is made from 40% recycled material. Not to be outdone, the inner-disc tray is made from "100% recycled material with at least 35% post-consumer materials," as is proudly written on the clear plastic. The inside foldouts contain lyrics for all of the tracks as well as additional photos of OceanLab, including Justine Suissa, the lead vocalist, submerged in water and in thought. Because? Well, that's just what sirens do. Sirens gonna siren.

Note: When this type of packaging started to come en vogue, I remained partial to hard-CD cases, but over the years, I've come to like, and prefer, this type of packaging. If I had the resources to do so, I'd convert my entire collection to paper-printed albums like this.

1) "Just Listen": The song opens with a piano and what sounds like a synth. The pace is midtempo. Tension building now. Stutter-step piano keys that transition into full-on piano work. Vocals then come in and they are more humming/calm/enchanting in nature. The track finishes out with a slow piano as it transitions into track two. In classical mythology, a siren is a sea creature that lured sailors to destruction with her enchanting signing. As this is only an introductory track, it's not clear yet what this dame is up to. Be that as it may, it's time to alter our voyage's course and follow that distant sound.

2) "Sirens of the Sea": A midtempo/slightly uptempo beat to start off this track. Suissa keeps her whisper tones, which is something I will expect throughout the rest of the album. “Follow me,” she says.

Leaving reason far behind
Nothing here is cruel or kind
Only your desire to set me free
Let us lie here all alone
Worn away like river stone
Let us be the sirens of the sea

Is she leading the crew to safety, or is she making promises of some aquatic utopia as she steers the crew into the depths of the ocean?

The song: it’s boring. Even though I like Suissa's calmer approach at times, a more upbeat instrumental would work better for this track. I guess it’s just hit or miss. The chorus parts make the song what it is, however. A clearly-boomed voice lays out the line “Sirens of the Sea” as the song comes to an end.

3) "If I Could Fly": Also a midtempo song. This one’s catchier and Suissa's voice has gained a strength, power and confidence that wasn't present on the first two tracks. The album takes a detour from the sea theme as the lyrics recall a day, of no particular importance, where the protagonist is trying to make her way home (via train) from some sort of errand or event, all the while trying to acclimate to harsh, cold weather. At some point she takes a look at her surroundings, only to find desolate faces and empty souls.

A simple smile can change a day
An understanding look can say
I know exactly how you feel
But we have learned to build our walls
So very strong and very tall
For fear of what the world might steal

If I close my eyes a minute
See a world and then I'm in it
Stand alone and grow my wings
To take me high

If I could fly
See the world beneath me
Feel as though I'm set free
Oh if I could fly

The way I read the lyrics: she wants to escape whatever sense of isolation that she is feeling, not only from herself, but from other people.

4) "Breaking Ties": Wistful sound. More of a talking track than singing so far. Now guitars come in for the first time and she starts singing the lullaby "da da da dum." The guitars were cool, but this is not a song I need to give another listen. A fade-out finishes the song, which is an indicator that OceanLab didn't have a good closer for the track. Lyrically, it's about coming to terms with a relationship that had both good and bad. Or is it about something else? The lyrics are ambiguous, but I wouldn't want it any other way -- I don't want the meaning spelled out for me. Given the track title, I'll go with it having something do with a breakup.

5) "Miracle": Slow-tempo track with a slow build and some piano work. Vocals have gone soft and whisper-like again and later some bass comes in. There is a light and relaxing vibe with OceanLab succinctly incorporating sounds that seem to emanate from an icy environment. I can't tell if the message of the song is religious or anti-religious, or not about religion at all. Something about ice caps melting away and people hoping for a miracle. At the risk of sounding just a little too glib, this is a yuppieish track that, if I wasn't doing a review of the album, wouldn't get anywhere close to registering on my care-‘o-meter. Way too slow for me. That doesn't mean that the song and its message won’t resonate with a different target demographic.

6) "Come Home": It's full speed ahead now as this fast-tempo song revitalizes things. Unlike the previous two tracks, ambiguity is forgotten and this is the most honest and vulnerable the siren has been on the album. The subject matter is about regretting an argument and other relationship dilemmas.

Come home
You know I didn't mean to say the things I said
Come home
Don't leave me here with all these thoughts inside my head

This is the kind of track that is a nice break from some of the more abrasive stuff I have in my collection. Usually what happens is I throw something like this in a mix in order to remind me that it’s there.

7) "On A Good Day": Although I know I'm probably going to like the Metropolis mix that I have already posted, I’m giving the track its original, full respect for the first time. It's the catchiest song with the catchiest chorus, so far, but I'm finding the instrumental parts to be boring. Again, the Metropolis version beats this.

8) "Ashes": Jungle-sounding beat with some background guitars. The song is midtempo. Have we washed ashore? Nope, doesn't seem so, as lyrically it appears that at this point in the journey, the siren has turned the tide and is taking ships under, all the while keeping to that subtle, whisper tone:

Ashes take me back to earth
Water quench my human thirst.

Not really sure the vocals work in the proper manner that the beat is supposed to convey. This wouldn't be too bad as an instrumental track. Now bongo drums near the end give the song some drive and *oomph*. I think there’s a violin in here and maybe a harp or something.

9) "I Am What I Am": Slow tempo again. Vocals sound better here. The beat sounds basic ‘90s breakbeat to me, just slowed down and not as raspy. The catchy part here is “I am what I am.” Balance of talk-singing in the track.

10) "Lonely Girl": This is the standout track.


When I watch the music video, I'm all like, “Yes. Yes, I do want to date a girl who is way out of my league and take her out on the town, take photos with her, get in a fight with her, break up with her, and then show up out of nowhere to get back together and make out with her. That sounds like a blast.” Truthfully, if I'm supposed to relate this to myself, I think the message here is that life is too ****ing short and there are more important things in life than whatever selfish endeavor I decide to give a **** about on any given day. Right?

11) “Secret”: Sounds similar but different to “I Am Who I Am.” Suissa tries a different vocal range here; they double-track her voice. She may have a secret, but she's not spilling the beans, so as a song, I don't really see the point of it. I'd say this was an addition to fit some kind of story arc, with this one relating back to the relationship theme.

12) "On The Beach": Hearing guitars. Clear vocals, although they are monotone in their application. In keeping with the title, this would be something to listen to while enjoying the freedom and freshness of the beach.

13) "Breaking Ties": An aquatic ending that gives the listener a true sense of the sea while bringing a sunset on the album. Vocals come in, almost like a siren. Spooky ambiance like you’re adrift over the sea. More of the truth and lies, fooling herself, conflicted-emotions dynamic. Slow build is worked up along with the vocals, and the effect is building tension while remaining bleak-sounding. At 2:50 in the song, the pace slows even more. Vocals come back in with “...a life I had not lived yet." This is more of an outro, so it probably isn't supposed to be a song in that sense, although it might speak to those who are into more of a drone, atmospheric type of deal.


It's not clear if OceanLab is trying to tell some sort of story arc or they were simply using sea concepts as inspiration for the album. I was all set to do a write-up tying everything together with all matters sea-related, but I had to scrap that halfway through because the album bounces back and forth between the sea theme and tracks with a relationship/inner-turmoil theme that have nothing to do with water, sand, sirens or shipwrecks. For Suissa, her vocal range goes from whisper tones to mid-range signing, but it doesn't venture beyond that. If this is supposed to be a storytelling album, then I can see it working. If not, it’s no different than any other album with some filler material. If you're looking for something to set voyage to, listen to the album as a whole. If it's bounty you're after, check out tracks 3, 6, 7 and 10.


1) Thump, thump, thump beat with a wafting synth in the background. I call it a synth, but I really have no clue what the technical musical term is. It’s clear at this point that this is more of the sound I’m going for with my music. Now vocals enter the scene. Not sure yet if they fit the beat. Really wondering if this particular beat would be better with a different vocal track than this, or left alone as an instrumental. I’d go with the original for this song because it’s catchier, however, there’s some good promise in this track. Maybe just have better placement and/or more vocal-stutter edits that sync up better. Not too bad, but won’t return to it.

2) Slower pace here. Hmm. Beat and vocals match better on this one. Aquatic feel with summer vibes. The synths roll over themselves in an interesting pattern. Ambient yet driving. I’d recommend this one over the original. Surf ‘n sand, mates.

3) Can’t define this sound right off the bat. Repetitive bass beat with varying piano layering in the background that is slower in tempo. Secondary bass comes in now. Title is “On The Beach,” but I think you’d have to be hammered to think this song is beach-like. Vocals now and they sound crisp and clear. I said on the original that the vocals were distracting. Here they are not as the vocals are treated properly and are well-balanced. At the 4-minute mark now and the beat goes into a progressive-house drop that hasn't been heard so far on either disc. *Looks track up in real time, and yes, it’s progressive house.* I wouldn't say the song resonates in the way that I’d like it to, but it’s a solid song and leaves you to appreciate the dedication and production talent that the remixer brought to the song. Andy Duguid is underrated in general, IMO. Best track so far, would recommend it over the original.

4) If our siren was lonely before, we have Gareth Emery to the rescue. Or is he? Vocals are about the same, not altered too much. Not feeling the beat as it is distracting when compared to the original. Instead of a “do do do," Emery uses a stutter-edit approach to that portion of the song, and this has the effect of removing the emotion that the original had. Midway through, the beat goes off on its own and we’re left wondering what happened to our lonely girl. Emery is doing his own thing. Vocals come back in at the 5:50 mark, repeating the song's chorus. I guess we know why she feels lonely -- the track comes across as being all about Gareth Emery.

5) Traditional trance beat. This is what’s known as uplifting trance, a subgenre of trance which is comprised of faster beats that run about 138 beats per minute (BPM). There is a weird “talking to myself forever” fadeout in addition to the main chorus that does the same. Not feeling that effect at all, but other than that, this beats the original. *Looking up the track listings in real time and I see that the other uplifting tracks are going to be #6, #7, #8, and #10*. Not everyone likes to break the genres down in this manner, and I can understand that. Unless you spend an enormous amount of time listening to this type of music, how would you really know what’s uplifting, what’s prog, what’s classic, etc.? Uplifting in general is supposed to have faster beats, but to me, since the beats are clumped together, for whatever reason, it sounds slower to me. I’m more of a progressive-trance guy myself.

6) This one is boring me. Not sure if this really adds anything above the original. Oh, what’s this? At the 5-minute mark the beat changes completely into a proper uplifting, fast-paced beat. Now it has added something to make it different, but I'd still pick the original over this remix.

7) This one balances the vocals and the beat to where they don’t feel out of sync. Better than the original, but still no dice on ever playing it again.

8) Catchier beat than some of the others, but then it seems to forget it wants to even be here and it slows down. Then it says, “Oh yeah, I have to do something," so the vocals come in now. What do you want me to say? I’m going to pass on this.

9) Has an *uncha, uncha* club vibe. Reminds me a bit of Andy Moor’s “In Your Arms.” The background...not sure what it is but my brain signals coco-cabana beats or something from the Super Nintendo game Donkey Kong Country. Trying to describe it but I don’t know what it is. A flute, a drum or bongo? Midway through hearing some wood-fire kindling sounds as is indicative of the track’s title. Seems decently produced, but I don’t end up caring about the track.

10) Better match of beat and vocals than the original, but otherwise I have no opinion. No OMG moments when listening to it.


All tracks on this disc are over seven minutes long.

1) Slow piano opening, aquatic feeling. Not all tracks give off an aquatic feeling, I’m just noting the ones that do. Where I said the original was “pointless,” Bayer’s remix gives it life.

2) Piano rift and a light thumpin' bass with vocals. This was the introduction track on the original album, so here, it remains a non-song, and I’m going to do what I haven’t done with any of the other songs so far -- I’m going to skip to the next song.

3) Another remix of “On A Good Day.” Can this beat the Metropilis version? Different vocal arrangement. The line “lost” is repeated to start off the track. Now the track is meandering about, like it doesn't know itself anymore. This would work better in a club atmosphere. I’m skipping to the next track.

4) Upbeat vibe. Piano and synths are fighting for prominence, then the synths explode and the vocals come in. This one over the original, but still no care from me. I'm going to skim over the second half of this disc as this review is getting too long-winded and I find myself looking for an excuse to get distracted.

5) Has a liquid-club vibe (not aquatic). Some different techniques and variations in sounds, which is my thing, so that gets a nod from me.

6) Nope.

7) “Satellite." If track six broke the ties from the original album, it did so to give us the final four tracks, all of which appear to be bonus tracks, and all of them are uplifting trance. Indeed, “Satellite” comes out of nowhere and steals the show. Solid uplifting-trance mix.


8) Another uplifting-trance track. Enjoyable.

9) Mostly an instrumental. The vocals only hum and there are little to no lyrics. Meh.

10) On to the finale. *uncha uncha* beat. Rave-music vibe. Meh.

SUMMATION

Some okay tracks, but largely "Satellite" and the bonus tracks on the second disc would be the reason to pick up this album.

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