Sirens Of The Sea (Single)

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'Suïssa' is Catalan for hot chocolate with whipped cream on top, & her vocals match the description.

ANJ050

21 April 2008

Tracklist
Mix Act BPM Key Duration
Sirens Of The Sea (Above & Beyond Club Mix) OceanLab 138 D minor 7:58
Sirens Of The Sea (Cosmic Gate Remix) OceanLab 132 D minor 9:19
Sirens Of The Sea (Sonorous Remix) OceanLab 132 D minor 7:32
Sirens Of The Sea (Kyau vs. Albert Remix) OceanLab 132 D minor 7:55
Sirens Of The Sea (Maor Levi Remix) OceanLab 132 D minor 9:35
Sirens Of The Sea (Acoustic Mix) OceanLab 132 D minor 4:50

Despite the low catalogue number, this was released 3 years after ANJ051.

Sirens Of The Sea (Original Mix)

Every second is fulgurated beyond oneirism. Who can listen & not cry? Arbitrarily highlighted by naming (because the rest of the album is also superb), every yoctosecond is a fierceness that will corrodes the soul. The Wolf-Rayet stelliferous instruments, the suaviloquence oozing with atrament & neuronautical dulciloquence, the ultrahumanity of it all: this completely deserves the title.
Explaining why this is the peak of humankind finally scaled is a difficult job. But I must do it. Although there are different parts, with psychoseismic obliterations when they hit, each part is crushingly ethereal. SOTS starts of small. Lightly flitting & fireworking hard, a darting hoverfly of a musical sintrument delicately & intensely flicks in & out of existence, finding Marianas' inkwells in the space between beats, introducing a tune with the ferocity usually reserved for a climax. Suissa's vocals geminate this mustard seed into a megaredwood, patiently raising the power brick by brick, spinning vocal melodies that I not only care about, but fall into. This is a rare time I recommend memorising the lyrics, so as to fully empower your understanding, immersion, & enjoyment of the song. Belt it.
Take my hand, take my hand, yeah take my hand
Follow me, follow me, yeah let's go
To the sand, to the sand, the purest sand
Into the sea, into the sea, yeah, let's go
Out beyond the water's edge
Far out past the coral ledge
Underneath the diamond dancing lights
Chase the world from far below
Silent sleeping indigo
Drifting down into the endless night
I can not resist your call
I can not resist your call
Take my hand, take my hand, yeah take my hand
Follow me, follow me, yeah, let's go
To the sand, to the sand, the purest sand
Into the sea, into the sea, yeah, let's go
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
I can not resist your call
I can not resist your call
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
I can not resist your call
I can not resist your call
Sirens of the sea.
For the next part, synths make their presence felt. Piercing to the marrow, they paint a Rembrandt's dream with this bony jelly. It's the final subthreads snapping one by one, the scariest precipice of a lead-up in Anjuna history, & that sword is about to hit Damocles' soul.
1:12 is a poison-tipped rapier steamhammered into the lungs. It all falls away & into a toroid black hole sucking in all previous knowledge. 3:08 is another whipcracker, sinking life into a vat of drowning sensation. Waterboarded by quality, SOTS is flavoured further by disbelieving, pleading & pleasing extra sounds in the second climax. It got several remixes & it deserves a lot more. How can anyone outdo this? What a perfect title track for the best album of all human history.

Sirens Of The Sea (Above & Beyond Club Mix)

This is no replay of the OM. This effortful CM we've been waiting for is a vivacious, original moon that brutally & brumally falls into a planet covered in oceans of lilac tears. Roborant & venereal, this is ground to power by a reappreciation of the incorporeal OM synthweb, & snapped to new heights by original piano at 5:06 that cuts out hearts & melts them. Sombre & glassy, the new piano soars alongside & sticks to the newly electrified climax. Simple, acidic, & wistful, this remix should be a standard for CMs.

Sirens Of The Sea (Cosmic Gate Remix)

Everyone here did well (except ML), but this is the one remix that seems properly restylised. All else is trance (& slightly different, in Sonorous's case), but this is the one remix that really feels regenred. Unthreaded & spun into progressive trance, this mix is a pumped & bassy look into 2008's Amundsens. Dashing the 2003-style ship into the craggiest rocks, this electrotrash is a papery yet rumbling energy, hitting as hard as the softest wood can. It gets better & better, the waves of the drums & vocals rising over this soft, sparkling sand. 3:38 is a red diamond stake sharpened to rip hearts apart into ribbonthin slivers, piercing the riot by dripping & coating honey on this, our daily bread, transmutated into another precipice at 4:07 to stare off. The jump is coming, but gaze at the bottomless pit of stars that is the black sky. All we are doing is standing on a tiny, imperceptible speck, tethered by a force weaker than a fridge magnet, with nothing between us & these infernal colossi. Classic infernos regenerate these vocals, just when you thought they couldn't be lifted high enough. 5:05 raises the bar another yottametre, with an agitated, distressed coral reef of frantic, volatile skittishness where every anxiously flung chord somehow hits the right note. Its echo effects affects me woundfully. Wonderfully, the bass returns, & it's more jurassic than ever. The vocal cuts within it massage the adrenal gland, & out comes elevation. 7:16 redarkens the air, tasting a sweetened oxygen, swimming in a quantum ocean, the de Goya of climaximalism, a haunting Heavy Gustav floating on magnetic rails, railing at the paperthin walls of the body, passing through & over the upper reaches of understandable pleasure. Raising it to another octave was purely lethal overdrive.

Sirens Of The Sea (Sonorous Remix)

This is apparently[1] "neo-trance". I don't know how, since that's not what trance turned into, was turning into, or is turning into. Enhanced Recordings itself became future house. But it is a distinctly alternative psychoneurotica, maybe not meshing with anything, not any genre, nor the future, or time at all. Ralf Müller lived up to his name: this is sonorous, meaning full of sound and rich, as in language or verse. There is another meaning to 'sonorous', namely grandiloquent. But even though this tract is a void, RM filled it with galactic interscapes of quasarscopes, leaving the sound even more paralysing, & just as dark. I have tried to figure out if this is good or bad for years, & I've finally figured it out. This is a pleasing addition to the remix LP, so even though I wouldn't buy this individually, it rainbowises the LP by adding another colour. This avant-garde experiment show several new techniques that remixers should probably not rely on, but they work here. The most groundbreaking is the way RM stripped back the OM to create a ghostly dream sculpture of a tune's insides, a watercolour of Enceladus fly-traps made with tears. This ordeal by space is a magical exercise in ESP, feeling what isn't there. 3:44 sees the OM tune begin, then trail off, to be replaced with a hyaline rendition from Suissa. The early morning frost encrusts this mix as water hangs off Niagara, embalming Sonorous's handiwork with chilly august frozenness of fear, the solid dew weighing us down to our knees. I don't want to praise this too much: Sonorous took a hands-off approach to tunebending, stripping away anything that could be touchable, holdable, tangible. In doing so, he made a new event. Just as an artist can make a stunning piece by taking the skin & flesh away from an animal to make a masterpiece out of the unchanged, exposed skeleton, Sonorous has mainly only taken away from the OM, leaving a wonder of subtraction. This minor achievement makes for a worthwhile spectacle, although it was not a difficult struggle. The second curiosity Ralf explored was the final half's series of tuneless, thundering wave-crashes. Each beat of the water is another psychic slam into my soul. The neurotroughs & almost tsunamic blasts open up another hypnotic dimension in our world. In conclusion, this is not necessary to own, but it is a thoughtful, mesmerising listen.

Sirens[2] Of The Sea (Kyau vs. Albert Remix)

Suissa is Finnish for 'inside mouths', & this tastes good. These remixes of SOTS do not have anywhere near the originality I expect of such talented people, or people in general. This is the exception: K&A brought a new flavour to this chocolatier. After 2000 years of chocolate curation, chocolate was finally made into a solid. Mainly, this EP is devoid of taste, since mainly the style and not the substance has changed in each remix, except this one. & it tastes like they added some mint.
'Suïssa' is Catalan for 'Switzerland', but this is not neutral. The electrotrash is some basic 2005 throwback that fit well in 2008. It doesn't last very long, which is good, since there's not much variance, nor is there much to be gained from repetition. After the requisition ends, the vocals sombrely begin the March of heth,[3] which the Ram & Zephirus[4] inspire. They breathe life into an extremocryophile's dreams, crystallising a part that shadowly haunts & threatens, spinning the most hair-whitening dirge a psychrophile can stand. This piece that introduces the mix has only a distant relation to the climax & feels foreign to the OM, & it reaches the furthest with the least. The faradic neurodelia lights up with just two notes, & the galaxy will never be dark.
Tripping the light fantastical & freezing the spine electric, K&A used only a muted bass for background from 2:12 & a bloodchilling ring from 2:26 to craft the spectrallest apparition ears can handle. Helium icebergs float in this sunken pool. The shrill Neptunian caecias blows over the alien Alps with such hatred for warmth, it's indescribable. A miracle before we even reach the climax.
Before we do, there is a 2004 breaks remix. This smattering of random mechanics is a welcome pre-climactic warm-up. Pleasingly, it doesn't spoil the climax, & both preludes contain only a portent of the workout-style bounce that K&A so prominently excelled at. 3:49 blows up the dam, flooding us with a highly pitched synth vigorously pendulating over an original beat that falls into a terse 2-2-4 rhythm. Not as good as a 4-4-8 rhythm, but still ingenious anyway. The vocals fit swimmingly, despite the radical difference in tune. These numens really did it.

Sirens Of[5] The Sea (Maor Levi[6] Remix)

Sadly, Levi has nothing to add here.

The synopsis[7] says "this release is fielding an all-German squad." Is Levi German? He has framed pictures of David Hasselhoff, but that's it.[8] Even if he is, who cares? I could not find a connection between Levi & Germany. Since he is not mentioned, he must have been a late addition. & it shows. It was not long before he was conscripted[9]
which explains why so little work was done on this. Unbelievably, out of all the remixes that changed little, this is the solitary remix of this song that is not worth all of your time & money. None of this is tolerable. The dramatic piano whams are a terrific style, but they've been drained of all their blood somehow, & it only repeats in the climax, which is a monotonous blitz of empty iteration. It won't be difficult to avoid this, especially since it's blocked on Spotify in this country.

Sirens Of The Sea (Acoustic Mix)

From 2014, we witness the return to superjovianism. Undoubtedly one of the star gems of Acoustic I, this defines what an acoustic mix should be:

  1. original, &
  2. stellar.

Not all of Acoustic I/II/III lived up to that. Myon & Shane 54's Under You Cloud did, as did Zedd's Spectrum. But not only is this a wondrous AM, but it is the crowning AM of Anjuna. After spending 14 seconds on a Wizard of Oz atmosphere with a jazzy, saxophonic autotelic stab, this mix leaps into the psychomimetica roasted on an open fire, unabashedly squaring the circles of the OM, ripples with angles amidst angels that cripple. This is the furthest anyone has gone in remixing SOTS, except K&A. Whereas they deviated, this is a direct rebuke to the OM, flipping it by antagonising its central tenets. Primarily in the third quarter, this tune skates on the thin French fuschia ice of irreality, placing the vocals and the instrumentals at loggerheads. This bravely paired odd couple perfectly breaks open the dull lock of the treasured tomb. There is a second version of the climax, and it's in a more usual, unpsychic style. But Sherlock Holmes is a wonderful alternative to Shawn Spencer. The now embellished tune is awoken from obdormitive hibernation by flourishing harps & violins that know when to pause, & when to break the floodgates. The quiet guitar & almost Kahwesque metallic clugs make the verses feel isolated and intimate. The violins' change from imploring & baleful to impudently begrieved feels greater than the shift any season could bring. But the twirlpool must end, & it does so with a blend of the two climaxes' styles, then the psychedelicism again. This is acoustica done right.