Review Summary: Re-Origin of Symmetry
Origin of Symmetry is by a fair margin considered to be
Muse’s best album. Originally released in 2001 it shot the England based rockers up from their quaint alt-rock beginnings to the operatic monsters they became. From the experimentation of the Rachmaninoff inspired “Space Dementia” and the equally as unique wailing “Micro Cuts” the album, composition-wise, excels. The original mix as it was in 2001 though left much to be desired. Too many moments in the original mix sound like the band is masking their lack of production experience by layering many of the album’s most striking soundscapes in heavy doses of flangers and phasers. While these choices carry their own charm they never sat right. Regardless, the album is now a fan favorite among the Muse fanbase and considered by many to be a truly fantastic album.
Jump forward twenty years, six albums and a few hits later and Muse is looking back to their basics. Wanting to take a look through the old stems and tidy them up, fixing the issues of the past and give listeners the 'truest'
Origin of Symmetry experience. On paper this sounds like either a recipe for disaster or for success. However the final result finds a fine line between both extremes. Having moments of improvements and other equal moments of disappointment.
The singles, which were considered even by the band as untouchable in the remix phase, see the smallest changes on the album. Instead adjusting the levels on the instruments and removing smaller oddities, like Matt’s breathing on “Plug in Baby”. These tiny changes do not make the listening experience much different to general listeners, however to long-time fans familiar with the ‘quirkier’ aspects of these tracks there may be something to complain about. Most notably though, the tracks see a much wider stereo range, replacing the original mix’s more centered mixing. Small subtleties are brought out much more due to this. For example, “Feeling Good” (which is now track 10) benefits the most from this as the horns that can be faintly heard on the original are now much more pronounced. The wider mix also makes it so these horns never feel like they are overtaking other aspects of the track, finding a nice comfortable spot in the mix where it was previously hidden.
The deep cuts see the most changes from the original release. Fan favorites “Citizen Erased”, “Micro Cuts” and closer “Megalomania” see the most drastic changes in mixing. The former and latter seeing strings added to the mix, bringing out a new lushness to the tracks which were previously hidden under a multitude of phaser effects. Particular highlight out of the string sections is found in “Citizen Erased” whose ending section, which was previously entirely made of phaser effects over Matt’s vocals, sees a drastic retooling. A subtle piano and a gorgeous group of swaying strings brings the emotional climax of the track to a satisfying close. What it loses in its transition to “Micro Cuts” it gains in it’s organic instrumentation which finally is able to poke through. Whether superior or not, the new mix of "Citizen Erased" does give the track a new life, letting the composition speak for itself. “Megalomania” sees this same boost with its string sections brought out during the instrumental opening of the track. These two tracks have never sounded as good as they do on these remixes.
“Micro Cuts” however comes out as a jarring mess and blatantly unfinished. Starting off a half a beat late the track proceeds to ramble through a pretty lame rendition of the fan favorite deep cut, removing much of the distortion from Matt’s vocals, removing all of the brutal panning effects from the outro, and introducing Matt wailing between verses. These wailing sessions sound out of place and downright terrible in the mix, lacking any effects to make it slide into place properly. The only decent addition to the track is a new harpsichord melody which follows the same lines as the guitar from the original, acting as a sharper brother. It works, but is not worth the destruction of the charm from the original mix.
“Space Dementia” and “Futurism” are the last tracks worth mentioning. The former features a stunning new string section during the second verse, which takes the anxiety ridden instrumentation over the edge. It creates this thick wall of sound that, while not everyone's cup of tea, serves the track well making it somehow even more massive and brutal than its original mix. Although saying this, Matt's vocals during the track initially feel jarring lacking a smooth fade in and thus sound out of place in the mix during their introduction. “Futurism” sees many small refinements which make the sound hit harder. Particular highlight of the remix is the solo during the conclusion of the track which pans violently as Matt slides and down the guitar. It breathes a new air of life into the track.
The album’s refined tracklisting is also a highlight, inserting Futurism to the main rotation and moving Feeling Good to track 10. These small changes help the album flow smoother from song to song, as "Screenagers'" beautiful quiet arpeggios and unique percussion go well following Micro Cut’s brutal outro.
A common criticism seems to fall on the mastering of the remix itself which has the album sounding louder and more crushed than ever. At times the mastering is downright awful, with “Hypermusic” being the worst offender, starting off with an ear destroying opening which is downright louder than anything else in the track practically making the opening unlistenable. Which is a shame as the "Hypermusic" remix sounds crystal clear otherwise.
While technically unnecessary, Muse returning to their second album is a welcome change of pace and reminds most older fans that, yes, Muse used to be pretty brutal. While the mixing will not win any awards, and some tracks are notably worse, the remixing process seems to be giving new life to enough tracks to make it worth it. And really, this is just a much more interesting proposition than some crap bare bones remaster.
Sidenote: "XX Anniversary RemiXX" is a bad title and evokes sub-2010 online culture memories that should stay buried.
