Ojos de Brujo: Remezclas de la Casa: Remixes from "Barí"

Matt Cibula

t's really only of interest if you love love love Barí and you are a DJ or obsessive completist.

Ojos De Brujo

Remezclas de la Casa: Remixes from "Barí"

Label: World Village
US Release Date: 2005-02-08
UK Release Date: 2003-12-15
Amazon affiliate

In 2002, the Spanish world music band Ojos de Brujo released an amazing record called Barí, showcasing its flamenco/Romany/techno/dub/folk/rock/everything style. Some Americans heard this album, and flipped their wigs for this band, the name of which translates to "Eyes of the Wizard". But most of us didn't hear Barí until its stateside release last year. Hey, better late to the party than never, I guess.

This remix album, helmed mostly by band member DJ Panko, was released in Europe in 2003. It's getting released here now, which gives fans of the original the chance to relive their memories while dancing their asses off. It also bids fair to make techno heads fall in love with OdB, as it is pretty damned good.

The remixes are fun and sprightly and well-thought-out; Panko pumps up their dancefloor muscles, but does no harm to the songs' fundamental structure and drama. "Zambra" was one of the highlights of the original record, a lengthy tense burner that did its best to live up to its translated title of "Gypsy Party". Here, as "Space Zambramix", it is scribbled on with childish prog synths and chopped up a little, beefed up with even more aural information than contained in the original. It's not improved in the least, but it is a nice fun compliment to its source, and will move more butts now that it is removed from the responsibility of meaning anything at all.

The dubbed-out mix of "Calé Barí" that opens up is pretty trippy, layering the pleading voice of OdB singer Marina "la Canillas" on top of herself approximately seven times to form a creepy new way to hear the song. "Tiempo de Drumba" is now a two-step funk workout with finger-plucked guitar and echoey scratching.

But not all is well here. The remix of "Quien Engaña no Gana" takes the mysterious original tune and runs with it, erasing or de-emphasizing half the elements through dub trickery, and reshuffling them in search of a more streamlined dance experience. The fact that Goa-trance synth squiggles have been substituted shouldn't be held against it; the fact that this version is more laid-back and less urgent than the original is the bigger problem.

But that just masks an even bigger problem, which is that this album shouldn't exist at all. It is only 34 minutes long, and that's with an extra instrumental version of "Tiempo de Drumba" that brings nothing new to the table. This should have been released as part of the package of the original record, instead of shoved into stores as a capitalist afterthought. It's really only of interest if you love love love Barí and you are a DJ or obsessive completist. Better off to wait until the next "real" Ojos de Brujo album comes out.


The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

Electronic music is one of the broadest-reaching genres by design, and 2017 highlights that as well as any other year on record. These are the 20 best albums.

20. Vitalic - Voyager (Citizen)

Pascal Arbez-Nicolas (a.k.a. Vitalic) made waves in the French Touch electro-house scene with his 2005 debut, OK Cowboy, which had a hard-hitting maximalist sound, but several albums later, Voyager finds him launching into realms beyond at his own speed. The quirky, wallflower vocals and guitar snippets employed throughout Voyager drop a funk that brings to mind WhoMadeWho or Matthew Dear if they had disco-pop injected between their toes. "Levitation" is as pure a slice of dance floor motivation as theoretically possible, a sci-fi gunfight with a cracking house beat sure to please his oldest fans, yet the album-as-form is equally effective in its more contemplative moments, like when Miss Kitten's vocals bring an ethereal dispassion to "Hans Is Driving" to balance out its somber vocoder or the heartfelt cover of "Don't Leave Me Now" by Supertramp. Voyager may infect you with a futuristic form of Saturday Night Fever, but afterwards, it gives you a hearty dose of aural acetaminophen to break it. - Alan Ranta

Keep reading... Show less

Hitchcock, 'Psycho', and '78/52: Hitchcock's Shower Scene'

Alfred Hitchock and Janet Leigh on the set of Psycho (courtesy of Dogwoof)

"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.

The title of Alexandre O. Philippe's 78/52: Hitchcock's Shower Scene (2017) denotes the 78 set-ups and the 52 cuts across a full week of shooting for Psycho's (1960) famous shower scene. Known for The People vs. George Lucas (2010), The Life and Times of Paul the Psychic Octopus (2012) and Doc of the Dead (2014), Philippe's exploration of a singular moment is a conversational one, featuring interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Karyn Kusama, Neil Marshall, Richard Stanley and Marli Renfro, body double for Janet Leigh.

Keep reading... Show less

The Force, which details the Oakland Police Department's recent reform efforts, is best viewed as a complimentary work to prior Black Lives Matter documentaries, such 2017's Whose Streets? and The Blood Is at the Doorstep.

Peter Nicks' documentary The Force examines the Oakland Police Department's recent reform efforts to curb its history of excessive police force and systemic civil rights violations, which have warranted federal government oversight of the Department since 2003. Although it has its imperfections, The Force stands out for its uniquely equitable treatment of law enforcement as a complex organism necessitating difficult incremental changes.

Keep reading... Show less

Mary Poppins, Mrs. Gamp, Egyptian deities, a Japanese umbrella spirit, and a supporting cast of hundreds of brollies fill Marion Rankine's lively history.

"What can go up a chimney down but can't go down a chimney up?" Marion Rankine begins her wide-ranging survey of the umbrella and its significance with this riddle. It nicely establishes her theme: just as umbrellas undergo, in the everyday use of them, a transformation, so too looking at this familiar, even forgettable object from multiple perspectives transforms our view of it.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.