This is anything but a typical remix CD, and it’s all the better because of that. Utilizing many different producers (including frontman Jessy Ribordy himself on one track), these songs aren’t just ‘remixed’— many are literal remakes. Not only are some of the original lyrics removed from several songs, there are completely new lyric additions. And while the songs’ music has changed, as expected, a good number of the changes were actually recorded by the bandmembers themselves. there are also three entirely brand-new tracks! Wow.
(Apart from the musical aspects, interestingly enough, the liner notes are somewhat of a mystery. The words written there are only actual song lyrics for maybe three of the tracks, and even those are not totally complete. The rest of them are vague, rambling thoughts that appear connected only loosely with each other and not really at all to the song they’re written under. It gives you something to ponder over, anyway. )
Exit Lights kicks off with “Islander”, the first of the three completely new songs. It features great percussion/drums and a really cool electronic-sounding bass until the chorus, where the music becomes a sort of atmospheric rock. Lyrically it is about isolation; and there are more lyrics in this song than what is printed in the liner notes.
“Exit Calypsan (Into The Ice Cave)” has a new tune, is more beat-driven and rhythmic, and still has a good, rocking chorus. This is a different take on the original that is very good.
“Escalates (Aceramic)” also has a new tune; and this particular track is actually redone in Dance-style. It’s quite different until the chorus, which is cool and low-rocking.
“Broken Heart (Ghosts Of Seaside)” begins almost creepy with a music box and echoing background voices. Again, it’s more beat-driven and has a new tune. At the end a clip from a speaker’s talk is also mixed in, and it’s pretty interesting. This is another very good take on the original.
“Circlewinds” is the second of the three brand-new tracks, and it’s actually an instrumental interlude. It consists of Jessy’s great piano playing along with some great orchestration, done in a suspenseful style. It almost sounds like a movie score.
“Moonlit (Neon Predator)” is produced by and features Solomon “Soul Glow Activatur” Olds of Family Force 5. As you might guess, this track is upbeat and fairly electronic, and during the chorus it moves into a really great new rock riff. Solomon’s lyrics, which he adds near the end of the song, are not written in the liner notes.
“Bittersweet (A Jedi Force)” has a good opening electronic buildup with an almost completely new tune. This song is interesting in that it’s actually almost totally electronic, and this track’s mysterious producer (“Jedi McKnight”) left in almost no lyrics.
“Third Lake” is the last of the three brand-new tracks on the album, and it’s another instrumental interlude. It again features orchestration, and great piano playing behind the other instruments.
“Searchlights (Indoor Soccer)” is another Dance-style track, but this time it’s much more rocking (especially in the chorus). It also has a new tune.
“Fearless (250 And Dark Stars)” features and Trevor McNevan from TFK. Partway through the song, the music fades away as if finished and then guest Troma sings a verse, after which the music returns. This track is also interesting because along with the new music and great piano, the lyrics in the liner notes (which actually are lyrics this time, and you also might notice that they copied a line from one of their other songs) actually completely replace the original ones.
“Contact (Complexus)” is slightly more electronic than the original, and it of course has a new guitar tune. There’s a cool voice chorus in the background and a neat drumbeat near the end, too.
“Exhibition (Epoison)” features . It has a suspenseful electronic/orchestra intro, similar but slightly modified piano, and some added/replaced lyrics. Not all of the words written in the liner notes are sung; the rest are apparently thoughts.
Finally, the very good closer track “Cascades (From In The Forest Cascadia)” has a new tune and is actually somewhat more rocking than the original.
We’re glad that Falling Up decided to make this CD, because it’s the best remix album we’ve heard in a long, long time, and a great disc in itself. We recommend it.