If the whole idea of a remix album is to take the originals and re-mould, re-imagine and re-interpret them into something altogether different and unique, then MISSING DEADLINES – SELECTED REMIXES, the latest project from Ulrich Schnauss is the very definition of the genre.

Tackling the likes of Howling Bells, A Sunny Day In Glasgow, Mojave 3 and Asobi Seksu, Schnauss stamps his very own musical stamp on proceedings here, unleashing waves of sonic majesty and shoegazery wistfulness on these songs; even going that extra mile in certain cases and improving on the originals. 

Ulrich Schnauss is a German born multi instrumentalist, songwriter and producer whose previous solo albums FAR AWAY TRAINS PASSING BY, A STRANGELY ISOLATED PLACE and GOODBYE have been glorious excursions into minimalistic electronica, synth washed dream pop and shoe gazing shout outs to the likes of My Bloody Valentine, Ride and Slowdive. Starting out in the mid nineties, the Berlin based Schnauss released a handful of ambient releases under guises such as View To The Future and Ethereal 77 before developing his sound and vision towards the more ambitious solo releases whilst also finding time to fill in on keyboard duties for the bands Longview and Engineers, not to mention production duties for artists such as Kirsty Hawkshaw and Exit Calm.

All of which brings us to MISSING DEADLINES – SELECTED REMIXES, a record that as the title implies, collates together various re-interpretations of his better remix work throughout the years. The remix tag seems somehow disingenuous and misleading at times here though, Schnauss at times re-sculpturing these songs into something far more unique and sonically intriguing, fans of Schnauss will definitely hear this musicians sonic fingerprints smeared loud and clear throughout proceedings.

Opener SETTING SUN from Australian outfit Howling Bells gets things off to a suitably ethereal and other worldly start, Schnauss layering glorious synth washes and sonic velvet over the original, taking things in ever more dream pop like directions. He employs similar tactics to Asobi Seksu's STRAWBERRIES and A Sunny Day In Glasgow's GHOST IN THE GRAVEYARD, transforming the originals into works of ambient delicateness that wash over you like a warm breeze.

It's on the lesser known songs here though that Ulrich Schnauss perhaps offers up the records finest moments, HALO from Aus in particular emerging as something truly special and enlightening, a mesmerising excursion into minimalist ambience that plays out like the soundtrack to the most glorious slow motion sunset you've ever seen in your life, breath-taking and awe-inspiring stuff.

Another highlight is FAITHFUL FRIEND by Katharina Franck, taking the nursery rhyme like original and spinning into into darker, Blade Runner like directions of menacing electronica. In fact Schnauss never seems to put a foot wrong through MISSING DEADLINES – SELECTED REMIXES, each and every song on offer delivering something gently mesmerising and beautiful; the likes of Lunz, Mahogany and Madrid having their works expanded and exploded into something imbued with wonder.

Considering the huge Slowdive and Ride influences on his solo material, its heartening to hear those bands originators Rachel Goswell and Mark Gardener represented with COASTLINE and STORY OF THE EYE, these mixes clearly a labour of love for Schnauss and given reverential treatment here. Closing number BLUEBIRD OF HAPPINESS by Mojave 3 continues the Slowdive connection and ends things in suitably intoxicating splendor, another marriage of minimalist ambience, shoe gazing delicacy and wide-eyed wonder.

As a remix album, MISSING DEADLINES – SELECTED REMIXES does exactly what you'd hope for from such a project, taking the originals and re-interpreting them into the remixers own unique sonic vision. Ulrich Schnauss presents a record here that enchants from beginning to end, at times blissful and awe-inspiring, at times dark and menacing, always intriguing and always mesmerising. For fans of all things ethereal, other-worldly and wonderful, MISSING DEADLINES – SELECTED REMIXES is a must.

APOLLO PAST PRESENT FUTURE presents a compilation of artists on the Apollo label, which is a subsidiary of Belgian dance/techno label R&S Records. The track listing of this album has been selected by the owner of the label, Renaat Vandepapeliere, and the quality and depth of talent on offer is a reflection of his own knowledge and judgment of the musicians under his wing. R&S Records was set up in 1984 and became an innovator in the techno, jungle and trip-hop scene, Apollo Records was formed to represent the more ambient side of the genres and brought forward acts such as Aphex Twin and London based Mark Van Hoen's Locust.

The album flows and meanders along beautifully from start to finish, often invoking moments of intense pleasure and sonic delight. There is an enjoyable mix of styles on offer, from the guitar driven acoustic vibe of the opening track PENELOPE by Pinback, to the elegant and graceful track WHO CHANGED THE ORDER by Manna, a song that soars like a bird at times, all because of some exquisite singing from Finlay Quaye. Not one song feels out of place in this collection and as a complete work it fits together so well it's like the songs were made for each other. There are a few new compositions such as ALIEN NATURE from Paul White that uses some cool Bollywood style samples over a looped drum track, DREAMS by Dave Angel, an atmospheric number utilising mainly repetitive laid back vocals with synthesizers, and a remix by Bullion, RUDE EFFORT, a thunderous closer to the compilation with an eighties feel to it.

The best moments are the more ambient and spaced out tracks. KINETIC, a David Morley remix, by Golden GIrls had me so relaxed I nearly fell off my chair, at 8 minutes it's a languid, luxurious trip into computer generated landscapes, it's probably the sound robots make when relaxing, and is the musical equivalent of red wine and chocolate. ANDORMEDA by Mundo Musique follows a similar theme but is not quite as enchanting. THE NUMBER READERS is another futuristic Bladerunner-esque track, bordering on Vangelis territory. PATASHNIK from Biosphere continues the science fiction theme with an intro that sounds like something from the X-Files, an alien heartbeat throbs in the background over an eerie unintelligible recorded voice. Aphex twin, as would be expected, impress with the remastered HELIOSPHAN, a trip hop adventure featuring some far out organ and electronic drums, and Underworld contribute SOLAR SISTIM, another treat to the ears, the leisurely vocals float above the bass and keyboards and seem to lower the blood pressure a few notches. JUST LIKE YOU is the best offering from The Locust, their two other tracks on this album don't quite match the standard set by this one, vocals, guitars and synths combine in Massive Attack style to generate a chilled, sensual groove.

This compilation is for fans of trance, trip hop, hip hop, or anything cool and contemporary; your ear drums will be thanking you for exposing them to this. It's a testament to the quality of the artists signed to the Apollo label, and I would suggest listening to it in an armchair, late at night, gazing at the stars, and possibly alien ships.