1. "Ombra" from Dralion--Ibizzare Remix (remix and additional production by Leonard Krarup). The opening lush keyboards and spoken part (Erik Karol?) are very nice. But Agnès Sohier's vocal line in the verse seems out of sync with the 4/4 time signature; I think the original version is actually in 6/8 time. During the chorus, however, the time signatures match. The echoing production gives this version a soothing, airy feel.

2. "Alegría" from Alegría--A Man called Adam's Magical Remix (remix and additional production by Sally Rodgers and Steve Jones). One of my favorite aspects of the original version of "Alegría" is the simple but pleasant chord progression. For some reason, the remixed version is all one flat chord (mainly plucked on an acoustic guitar) throughout the verse and chorus sections. The bass line is nice, but just seems out of place.

3. "A Tale" from La Nouba--Chilluminati Mix (remix and additional production by Illumination: Nicholas Silitoe and Per Martinsen). The original version has a hip-hop feel that is similar to this remix making it basically an extended version. Missing, however, are the original version's rap lines and the great high-energy bridge. Dessy sounds nice with the heavy reverb added to this version. If you listen closely you can hear Star Trek sound effects playing in the background.

4. "El Pèndulo" from Varekai--Fenomenon "Northern Comfort Mix" (remix and additional production by Kay Brets and Hobie Rosenberg with piano solo played by Trond Tellefsen). This is about the fifth version of this song (the latest live version remains my favorite). This "Northern Comfort Mix" has a light jazz feel with some very nice piano chops and a swinging upright bass line. Zara Tellander's wonderful vocals are virtually untouched.

5. "Africa" from "O"--Cottonbelly Remix (remix and additional production by Stuart Matthewman). This version was used during the ending of Fire Within episode 12 when Guy Lalibertè asks the Atherton to join him in his limousine. Toumany's Kora sounds like it is being processed through a phase shifter and his vocals are heavily echoed. The appropriate title should be "Africa in Space."

6. "Nocturn" from Alegría--Christophe Goze Remix (remix, additional production, and lead guitar by Christophe Goze). The original version is pretty much present with additional production enhancements overlaying the bass, keyboards, and bells. Joey Sommerville's flugelhorn sounds more distant than in the original and the new straight drum pattern actually works.

7. "Le Rêveur" from Varekai--Thievery Corporation Remix (remix and additional production by Thievery Corporation). A steady drum line gives this mix more substance than the original droning version. The vocals once again are laced with heavy echo effects that are accompanied by filtered synthesizer patches. I can see this version fitting nicely in a dance club setting.

8. "Gamelan" from "O"--Cantoma Remix (remix and additional production by Cantoma with additional keys played by robin 12tree). Okay, somebody please tell me what part of this remix is originally part of "Gamelan?" There's possibly a syllable or two from the vocal line, but this is completely a new song. I like it, however. The electric piano and clavinet keyboard patches sound like something from a 1970s pop song.

9. "Ombra" from Dralion--Afterlife Remix (remix and additional production by Steve Miller). Once again a 4/4 time signature is used, but in this more upbeat version, the out-of-sync vocal lines seem to fit nicely. This is a successful conversion from a ballad to a dance- beat song.

10. "Africa" from "O"--Banzai Republic "Equator Bound Mix" (remix and additional production by Banzai Republic with additional guitar played by Michael "Maestro" Landin and flutes played by Martinez). This is a completely redone version that features only the original vocal heavily echoed with an occasional Kora riff. A lot of floating electronic sounds envelops the steady drum and bass rhythms.

One constant remains throughout the remixed versions of these songs: echo. Overall, my preference is to listen to the original versions, but I find these interpretations interesting. As with the Varekai soundtrack, lately Cirque du Soleil music seems to be leaning towards the European techno sound. I hope that present and future composers/producers do not neglect the talented musicianship that has always been featured in Cirque du Soleil's masterpieces. According to the wording from the CirqueClub email, it appears that more remix CDs are on the horizon. Hopefully, they will also consider some other "remix genres" for future projects.