Tom: I described the original version of this track as “so polished that you could slip on it and crack your head”, although you were a lot more enthusiastic. The question is: does Alan Walker remixing it make it better, worse, or just different?
Tim: Hmm, see I’d been avoiding this one, largely because it was described to me as ‘not ideal’. But go on then, because it is, I suppose, a question I do want to know the answer to.
Tim: Huh – that is nowhere near as bad as I was worried it would be.
Tom: I’m going for “different” and “worse”. Which is a shame: but the original already had percussion and energy, it knew exactly what it was aiming for, this just confuses matters. Unlike a remix that takes an emotional slow number and makes it INCREDIBLE, or that turns a good key change into a ludicrous key change, this… just adds some beats where there didn’t need to be any.
Tim: Ah, you see this is where having listened to that original 20+ times on repeat gives me more info: there’s more than that. In particular, there’s a whole new lovely countermelody under it (which is what you can hear on the obligatory ‘click to subscribe’ bit at the end).
It’s most notable during the chorus, where previously there was nothing – just the vocal – and it actually does add something to it, in a positive way for me. Sure, there was power to come from having the vocal unencumbered by anything else, but I don’t think this detracts from it at all.
Tom: It’s a shame, because there is, no doubt, a good remix to be had here: it just needs to either be much more transformative, or of a different track from the musical.
Tim: Speaking of which, The Greatest Show recently got added to the playlist at work, and my job satisfaction has subsequently increased by at least 150%.