While there is some truth in saying that a classic is just that, a classic, and therefore not to be tampered with, I believe that in this case the Valentino Kanzyani remix did add a refreshing new aspect to the rather "banging" original. While the hook from that track is one of the most heartbreakingly beautiful melodies to come out in recent years, it was impossible to mix the record if you wanted to keep your sets more minimalistic. Kanzyani has solved this quite elegantly without failing to show respect to the original and proved that he's been around the block quite a few times, as his discography shows.

The remix by Marco Nastic, however, is pretty redundant.

Looks like Umek & Co. knows how to make some easy $ - he just bought rights to Outhouse and gave it away for some Slovenian beginners. Nobody cares who remixed it, where it is released and what is inside. Why? Because it's OUTHOUSE. I was always sceptical for this type of "production" - taking a timeless, classic track and just adding some other elements to it (and keeping the same melody because it is the main part). You can't remix Outhouse. It's just impossible, because we all know how it should sound like (like original) and it sounds how it sounds.

The remix tells you that no one can overcome the Original. Key words: filler, no creation, fruity loops.

Listening to the remix one may think about how many $ there should be paid to be in the remix part of the Track. Or another thing. What kind of depression experienced the remixing artist to give such a simple remix. Toooo simple work. Toooo

In both ways the remix is Just a bit adapted to the floor (what’s the sense?), more classical, proggy trance. Usually such kind of release filler is made by the artist himself. But this one is made by an artist, familiar to the sound, and being from such a creative group as techno - IDM creators. The remix carries just a ‘name’ function, no creation at all (creativity is opposite to the no-creativity, and no-creativity is opposite to the creativity). Eat this wonderful Soup but put some spice in it.

-- All the key words are used in this comment but ‘fruity loops’. For this one there’s another key word: imagine.

I'm not usually a fan of progressive, but things have changed recently due to DJ's (such as Holden) sneaking IDM riffs (such as Fake's) onto the dancefloor. If I had been out in a club when the fluffy mix was dropped I would have joined the bimbos in trying to take the DJ home that night ;) Nathan's track is a downright inspiration to a burdgeoning producer conflicted with a techno upbringing and IDM sensibilities. I'm looking forward to more of these genre crossovers...

I first heard this on James Holden's Balance mix and I must say, it is one of the highest points on the mix. I would have to disagree with damnage, the Fluffy Mix is definitely a winner, even if not a banging tune. Composed with outstanding musical taste, main mix is a great combination of an eery melody with a nice driving beat, while the fluffy mix is the same melody based on some chilled beats which are just great to put on and relax to. The Beats Tool is a good mix for a slightly more intense set. In my opinion a great release where every mix is GREAT.

Without a doubt, one of the best tunes of 2003. The 'Main Mix' is really dark and epic combination of synth loops and techno bass with straight-forward rhythm. 'Beats Tool' is more simple, really nice to mix and use, but even the 'Fluffy Mix' is really good piece of music. IMHO, this is really high-quality electronic music which will sound good long after.

James Holden’s Border Community’s 2nd release comes straight from the mind of a 20 year old college student whose influences don’t come from the club, but from IDM & Ambient musicians such as Boards of Canada and Ulrich Schauss. Nathan Fake has created a weird monster here, the main mix is a left of center house cut, with a main synth line that would feel more at home in a Portishead track than a house track. The “Beaty Tool” mix is the winner here, great drum programming and very little use of the main synth hook. Also included on the release is an ambient version, the “Fluffy Mix” which is a pointless inclusion on a 12” release and proves Natahan should stick to producing non-dance floor cuts. Disapointing, but not useless.

Boards of Canada-style synths in three distinct flavors: a thumping techy tribal bit on the big side, a downtempo quirkster and an almost progressive little beats mix on the other. Hot shit.