Album a Day (Book Edition): Who Killed Amanda Palmer: A Collection of Photographic Evidence

I love companion pieces. As an artist I totally get it when you say to yourself, "Yeah...this works but how can I expand on it and if I can't do it alone who can help me?" And that's exactly what Amanda Palmer has done for her debut solo album Who Killed Amanda Palmer. I purchased the book, Amanda Palmer: A Collection of Photographic Evidence, when I went to see her with my former housemate (can I just say how nice it is to live in a house every once in a while?) and close friend Brian (so close that he bought me a ticket to see Amanda Palmer with him) play here in Los Angeles with Sxip Shirey (accompanied by Sxip Shirey's hair, if you don't get it then you weren't at that show so sorry, but you can follow them both on twitter), Jason Webley (to whom she dedicates the book), and her and Jason's collaboration Evelyn Evevlyn (and I'm sure I will be reviewing their debut album together very soon as I have listened to it a few times and it just all sorts of good). The book was 40 dollars and well worth every penny. Limited to 10,000 copies (which seems like a lot but limited is still limited) the book features the lyrics to all of the songs on the record with the exception of What's The Use of Wond'rin? plus stories by Palmer's fiancé Neil Gaiman (this is normally the place where I'd tell you who this is but if you don't know who Neil Gaiman is then its probably best you discover on your own) and photography by Kyle Cassidy (who also reportedly laid out the book), Beth Hommel (one of two photographers including Cassidy that got top billing on the book alongside Palmer and Gaiman), Ben Cerf, Tom Dickins, Lauren Goldberg, Amandacera Hannon, Marie-Harveline Caron, Regin Hertrich, Ryan Krakowsky, Michael, McQuilken, Gregory Nomoora, Ron Nordin, Oliver Orion, Tegan Rain, Malka Resnicoff, Nicholas Vargelis, Anabel Vasquez, Rodriguez, and Amanda Palmer herself with appearances by several artists most prominently (at least to me) Jason Webley and Regina Spektor. I really like the inclusion of the lyrics and this is definitely not the first time Palmer had something like this (or the book itself) as there were either companion books or at least songbooks (and sometimes the books were a mix of the two) for her previous releases as part of The Dresden Dolls. What makes this book different is that she chooses to play more off the fiction aspect of the title Who Killed Amanda Palmer. The lyrics here are the one element that don't really match the theme but if you are going to have companion pieces then they are going to need to have at least some crossover (something I'm dealing with now as I work on my new avant-garde film and book of short stories both titled The Impossible Task of Knowing) so I think the inclusion of the lyrics is nice for the fans of the music. Its also interesting to read the lyrics and listen along to the album (which is what I did, though the order of the lyrics are in the order on the album that they appear in the book so I skipped around the songs as I read along in the book) because you'll notice that the two don't always match up which would seem to indicate that the lyrics were put into the book before they were finished being recorded (though this is also something that could have been changed at times during the mastering process of the album which is said to have taken three times). I don't think it should come as a surprise that the real highlights of the book are the short stories by Neil Gaiman. There are only a few but each of them is a bit of a different style and so sometimes you get stories that seem like clues as to the fictional death(s) of Palmer and other times you get a simple small poem also connected to the theme but not always as directly. Gaiman's language is always just so compelling and I love the quiet nature of his writings here. One of my favorite lines comes towards the beginning of the book as part of a diary entry by one of three young girls that finds Palmer's corpse. The line says, "The bruises on Ms. Palmer's neck were the colour of blackberry jam. There's another great story about a writer riding in a hot air balloon with his love and typing out the end of his novel (perhaps metaphors for Gaiman and Palmer) when his love gets annoyed with his typewriter before he throws it out of the balloon (though this would seem to indicate to me not Gaiman and Palmer). My favorite story though is one about a girl (named Amanda) whose father marries a woman with a daughter of her own and then the father dies leaving Amanda with her stepmother and stepsister (both of them just awful). The story reads like a Hans Christian Anderson or Brothers Grimm fairytale where a young Amanda is sent by her evil stepmother to buy drugs for her. I'll try to spare you the spoilers but Amanda's generosity winds up resulting in jewels pouring out of her mouth as opposed to the stepsister who's greed and indifference only produces various lizards and reptiles. I just adore the jewel imagery which is enhanced by a wonderful photograph by Amanda Palmer of jewels coming out of her mouth and she lays dead. In fact almost every picture in the book is of Palmer's fictional corpse taken by the various photographers in a number of scenarios. The aforementioned picture is the best one taken by Palmer though the other ones are generally good. In addition to that photo I really like the two page spread of eight photographs taken in succession of Palmer in her underwear in a very cabaret looking room going absolutely nuts (one of the few photos in which she is not a "dead") and the red and green close-up shot of Palmer on the page just after the lyrics to Oasis. Kyle Cassidy probably has the most photos throughout the book. I don't really think there are any outwardly bad photos in the book but Cassidy's generally aren't my favorite. Most of them are technically good but remind me a lot of most of the photographers I experienced while working in the fetish scene which is to say that the pictures are fine but the photographers are so enamored with the subject and the concept that they often fail to take advantage of the photographic medium and so the pictures are ok but more a good idea than a well executed piece of work. I think Cassidy's best photo is actually of Palmer in a diner with two friends and her face is lying in her food while the two friends are looking anywhere but at her. Palmer doesn't look actually dead in this photo, its just funny and feels like its the most honest photo in the book. There's also a cute picture by Cassidy that accompanies one of Gaiman's stories in which Amanda Palmer's future-self travels to the past Terminator-style and kills her past-self. Cassidy's photo involves Palmer in her more current look holding a sword and standing over the body of herself-circa-Dresden Dolls (with full makeup). I think Beth Hommel's pictures are stronger and often more subtle like in a great photograph just after the lyrics to Runs In The Family in which Palmer's corpse is in the background mostly out of focus with just her hand and the leg of a really great piece of furniture (maybe a chair) in focus in the foreground though my favorite of Hommel's pictures is right on the nose: a polaroid of Palmer nude and dead in the snow just in front of the Yale University School of Art sign and dated December 19, 2008 9:10 PM (clearly trying to recreate a crime scene photo). In fact, in usual Amanda Fucking Palmer fashion she is naked all over this book so if never have seen her in such a state, curious, and don't mind corpse poses or arm-pit hair then the book may be worth it alone to you for that. I won't go into detail about every single photographer but my favorite pictures (besides the ones previously mentioned) include a black and white nude photo of Palmer's nude corpse washing ashore by by Michael McQuilken (I believe the only B&W photo in the book), Palmer's corpse in her underwear with the panties pulled just below her ass just beside a baby carriage in the hallway of what appears to be a hotel by Marie-Harveline Caron, Palmer hanging by a noose on swing next to a young boy swinging by Kyle Cassidy, Palmer's corpse in full cabaret attire lying on a cobblestone street alongside Kriss Kross magazines (worth it for the beautiful color alone) by Regis Herthrich, Palmer's bloody corpse in a sequined dress where the photo looks again like a crime scene by the on-camera flash by Anabel Vasquez Rodriguez, the cover photo (but inside the book) of Palmer lying dead on a couch, covered by leaves, with the words "Who Killed Amanda Palmer" written on the wall accompanied in the book by a fictional description of an anonymous artist using the body as an installation piece both by Gregory Nomoora, Palmer's corpse once again in underwear, a garter belt, and stalkings this time on a spiraling staircase as the photo is taken down the stairwell with the foot of the on-looker peaking in by Marie-Harveline Caron, and my absolute favorite is of Palmer's bloody corpse in fishnets and a pink tank top accordianed-up in a shopping cart by Nicholas Vargelis

Album a Day: Razed in Black - Damaged

Its rare, but it happens every now and then where a band really just eventually finds the inspiration to go from middle of the road to great and that's exactly what Damaged represents. I'm not by any means saying Razed in Black was bad previous to this work, however Romell Regulacion's Razed in Black essentially spent two albums a few EPs as a solid industrial band with the one club hit being Oh My Goth! which is lyrically much better than the title would suggest but honestly if you're around other people and someone either here's that main chorus hit or just sees the title it can be a very embarrassing moment sort of like when you tell some of your friends that you like Pro Wrestling and you have to attempt to explain to them why its actually really good. In an interview I did with Romell after the release of the album he talked about the autobiographical nature of the Damaged as connected to a really difficult relationship/break-up he went through as the inspiration for the album and there's something just about the honesty and pure emotion of this album that really translates as I think it what was able to carry this junior album from the King of the Hawaiian goth/industrial scene to the next level of music making. Though originally more of an industrial band, Damaged has a really interesting mix of the bands signature industrial style mixed with elements of EBM, synthpop, and house. I also love that the elements Regulacion stayed true to the elements of RiB that were good before like prominent guitars mixed into the electro-industrial sound but even stepped that to a higher level in addition to friendlier synths that create a nice contrast to the darker electronic elements. I also really appreciate that Romell used this album as an opportunity to show off more of his vocal work which is just so rich in emotion on tracks like Share This Poison and Come Back To Me. Sonically this is a really complex album with a lot of layers that accompany the layers that go with the kind of situation that Romell clearly had gone through and shows in both the music and lyrics. It can get old listening to albums that focus more on love or breakups specifically so its actually refreshing that you get the full range of emotions here and thoughts like wanting to put the blame on anyone involved at different times, wondering where it all went wrong, reminiscing, and trying to just put things back the way they were. This is just such a heartfelt disc with wonderful music that is touching to listen to while also a great club album with several hits on album. I also really love the length of the songs. There are 11 tracks on the album with a total of just over an hour of music with each song averaging about five minutes, which allows each song really develop and adds for nice moments like the starting of the computer and synths at the beginning of Visions. These little bonuses give the album add another dimension similar to movie sampling but more original, create a narrative to the process, and also allows for breathing room. There are also several really nice appearances by fellow artists and friends of the project including Jay Tye (Soil & Eclipse), Athan Maroulis (Spahn Ranch), Alexys (Inertia), Reza (Inertia and Killing Joke), DJ MissGuided, and RiB contributors Yoshimi Shinozaki and Vicci Neptune. The album comes in a really nice digipak (which fittingly quickly gets damaged) with beautiful artwork and a bonus disc of some really cool remixes. The remixing actually seems like it begins at the end of the first disc which is an alternate version of Never Meant (originally from the album Sacrificed). The remix disc actually begins with another alternate version, this time of the album track Blush. The alternate version isn't really all that different but perhaps even slightly more club friendly (not all that different than a radio edit). The second track is a remix of Leave It All Behind by Romell that really shows off his remix skills as one of the more consistent remixers in the goth/industrial scene. Though normally his remixes can often be much clubbier more spastic versions I think he knows his music so well that instead we get these amazing 80's style synths layered over a track that was already really solid on its own. The Eve of Destiny remix of I'll Damage You and Soil & Eclipse remix of Am I 2 Blame? are pretty standard club mixes and actually not terribly interesting but sandwiched on the CD between them is really the crown jewel which is the Assemblage 23 remix of Visions. I challenge anyone to find a better remixer in Goth/Industrial than Tom Shear of Assemblage 23 (and he's certainly one of the top remixers in electronic music or music period). Tom really breaks down a song, understands what it does, and then gives his take on what he'd like to see done with it. If a band plays similar music to him then I feel like he makes sure to give the song he's remixing as different a take as possible and I think that is the excellent result we get with this track that is just so distinct with that amazing synth line throughout the song. I'm not sure whether I like the original version of Visions better or this remix but I would love to see Tom Shear do more remixes outside of Goth/Industrial with bands like The Knife, Ladytron, Robots in Disguise, IAMX, and even non-electronic bands like The Killers or Amanda Palmer. The disc continues on with two particularly intriguing remixes. The Break Athem remix of Visions (interestingly renamed here as Visions of Our Past) by Sonic State brings the song into a really tribal and visceral place that would feel redundant if it just weren't so compelling and the Neikka RPM mix of Blush is just a really cool industrial track. The album finishes with a reprise of Visions (the most remixed song on the album) that on its own is nothing special but I think caps off the roughly hour and forth-five minutes between the two discs rather nicely. I also think its really great that the two discs is the standard version of the album with no special edition because I think it just adds to the epic quality of this master work. This album was released in 2003 and while Razed in Black claims to still be active its really a shame that there hasn't been an album since (though there have every now and then been new tracks or covers on various compilations and tributes mostly put out by the bands first and only label Cleopatra, having signed with them just after the band's founding back in 1994). Favorite Tracks: Blush, Share This Poison, There Goes My Head, Leave It All Behind, Visions, Come Back To Me, Nevermeant_V2, LIAB (Future Retro Mix), Visions (Assemblage 23 Mix), Visions of Our Past (Break Anthem Mix), and Blush (Neikka RPM Mix)

Album a Day (Single Edition): miLù mit Kim Sanders & Peter Heppner - Aus Gold

This three track 2004 solo-debut single for artist miLù (Anke Hachfeld of Mila Milar) would see the frequent Schiller collaborator enlisting the aid of two other Schiller collaborators in the form of Eurodance alumni Kim Sanders (Flame, Captain Hollywood Project, Culture Beat) and EBM mainstay Peter Heppner (now ex-Wolfsheim) for the title track Aus Gold (From Gold). Aus Gold is a really beautiful track and miLù's vocals remind me of a slightly pulled-back Björk and while listening to it I was really digging on it. The structure of the song introduces Kim Sanders during the 2nd verse and Heppner in the 3rd with the song ending on all three performing the chorus. I really love songs like this because it really allows for the collaborative process. In fact the lyrics to Aus Gold were co-written by miLù and Peter Heppner with producer Dirk Riegner (Secret Discovery, Space Jazz Dub Men) contributing to the music writing. With Sanders vocals you have four talented artists all coming together to create a song that has both mainstream appeal (well mainstream if you either speak German or enjoy singing in the German language) and appeal to the artist's respective main-genres. The main reason I actually bought this CD was being such a Wolfsheim fan and wanting to the hear the guest vocals by Peter Heppner, who has shown in the past to always choose great projects to lend his vocals to in addition to consistently being a positive addition to any song having worked with the aforementioned Schiller, Umbra et Imago, Paul Van Dyk, Joachim Witt, Goethes Erben, and José Alvarez-Brill amongst others. What I find particularly interesting about the timing of this contribution is that it was around the same time as Wolfsheim's Casting Shadows, the band's last album before the split of Heppner and Markus Reinhardt. Though the real split is said to have happened in 2005 after Heppner signed a multi-album solo record deal, it wouldn't be hard to guess that the collaboration on this slightly more mainstream-sounding disc might have foreshadowed Heppner's inklings towards wanting to brand himself more for a run at a solo career. The second track Du Mensch is sort of a more fun track with only miLù on vocals this time. I really like this track and see the radio appeal (again really only if you are in a German speaking country or a fan of the German language). The third track is the first track again but minus the guest vocals by Sanders and Heppner which to me basically makes it a throwaway track. The CD also includes a video for Aus Gold that is really only worth because of some cool vintage footage (hopefully found and not recreated) and the chance to see Peter Heppner in a jean jacket (though he's wearing two jackets which just goes to show how fucking cold it must have been on whatever beach they filmed it). The big thing you have to really appreciate about this release is that it set to work in support of the German Red Cross for the aide of Afghan Poorhouses. Favorite Tracks: Aus Gold and Du Mensch

Album a Day: Shadows Fall - Threads of Life

I have to give my older brother Lee all the credit in the world for recognizing how good Shadows Fall was long before I ever did, though it helped that he had the opportunity to be around the then-growing Hardcore and Metal scene in New England. In fact we were right in the thick of it with local metalcore bands like Overcast and Aftershock breaking up and reassembling into bands like Killswitch Engage and Shadows Fall, though all of this would be a few years before my time or at least a while before I was a metal fan. Since then these bands have really made the transition as the pioneers of metalcore and have constantly shifted their sound and matured as artists and one of the best examples of that is 2007's Threads of Life. While I don't have a bad thing to say about previous Shadows Fall records I just think Threads of Life is a mature album and shows the bands growing understanding of not only how to put together great individual songs but how to make an album work on a whole. There's a great mix of more traditional metal songs like Dead Uprising, mixed in with cutting edge tracks like the first single released from the album Redemption, and even melodic reflective songs like Another Hero Lost. This fifth album is the band's only release on a major label (the band has since started their own label Everblack Industries) the boys from Western Massachusetts really stepped up their game and all the hard work and dedication shows in a grouping of songs that for the most part all seem really personal and heartfelt. I love that much like the aforementioned Killswitch Engage there are a lot of really positive songs on the album like Redemption (which earned the band a Grammy nomination for Best Metal Performance with no shame losing out to legendary metal-gods Slayer) but still critical with a fantastic song like Failure of The Devout. Lyrically there are a lot of really interesting songs on this album that are really carried by Brian Fair's fantastic vocals. I always appreciate that Brian Fair is a singer and isn't afraid to sing and do a really good job at it, although there is a good balance between his singing and a fair amount of that metal scream as well (though perhaps more subtle than other bands). There's a lot of great guitar breaks in this album both electric and acoustic that adds to moments of breathing room that can often be missing from metal albums (or just a lot of albums in general these days). I also really enjoy the consistency of the album. Every track is really good on its own but there's a cohesion of themes amongst the songs like loyalty, hope and struggle in the face of adversity, the harsh reality of death. I also really like covert art illustrations by Angry Johnny. Overall this is a really solid album and worth not just listening to but really engaging with. Favorite Tracks: Redemption, Failure of The Devout, Venomous, Another Hero Lost, Dead Uprising, and Just Another Nightmare

Album a Day: Jessica Vale - The Sex Album (Second Edition)

In 2005 New York City multimedia artist Jessica Vale released her debut The Sex Album comprised almost entirely (with the exception of Vale's vocals) of sex sounds from various couples amongst the NYC club scene and manipulated into something haunting, beautiful, sexy, dirty, raw, pretty much everything you could want from what is time and again in reviews referred to as "dark rock" (though it sounds basically like industrial to me). There's a great diversity of work here because there are a few goth/industrial club tracks like Disco Libido, The One Over There Is All Mine, and Sarajevo but then more dark breakbeat-style songs such as The Boy In Black or Breather but some of my favorite songs are really the ones that I think are more in line with Vale's multimedia background with the deeply poetic spoken-word pieces Welcome which is basically an instruction manual on how to fuck and Sweet Sixteen in which Vale as the narrator recounts her sixteenth birthday in which she hung out with a boy, got high, drank, had mediocre sex, got poison ivy, and that was pretty much it. Sweet Sixteen to me might be the best track on the CD and reminds me of the works of Sadie Benning (experimental filmmaker, daughter of James Benning, and former member of Le Tigre) and Bill Brown (filmmaker, photographer, and author). The entire album has a great aesthetic appeal and is great to listen to and just enjoy on a visceral level but there's also a lot of layers that can be pealed away that gives The Sex Album a real complexity, though none of this should come as a surprise given Vale's extensive work in the art and film-making communities. In addition to the regular 11-track actual album the CD also includes four bonus tracks (two remixes and two radio clean tracks). The remixes are both solid though I really found myself drawn more towards Jeff Saphin's remix of Boy In Black which brought the track to another level. The Infinite Volume Remix of the non-album track Disco Boy is certainly delightfully spastic. The last two tracks, clean versions of Disco Libido and Boy In Black certainly serve their purpose of having radio friendly tracks that I think helped Vale and this album's climb up the Billboard Charts but for the regular listener and given the subject matter of the album already they are basically throw away tracks that you can skip at the end. This is a great album to just sit down and chill to or fuck to (and isn't that really essential in anyone's collection?). Favorite Tracks: Welcome, Look Pretty, Sweet Sixteen, Sarajevo, Disco Libido (Radio Mix), and Boy In Black (Saphin Remix)

Album a Day (Tribute/Compilation Edition): Various Artists - From Russia With Love: A Russian Tribute To Pigface

I'm always a bit skeptical about tribute CDs because you often wind up with one of two scenarios: either the vast majority of the bands on the tribute can't do the original material justice or the bands on the tribute are far superior to the undeserving recipient of the tribute. The first scenario isn't necessarily the bands' faults because most great covers come out of the band/artist's connection to a particular song/band which necessitates a cover: Amanda Palmer loves Radiohead so she decides to cover a Radiohead song. This decision on the part of the artist/band can help motivate for a better cover because they feel they owe something to the material or they've heard it so many times that they can put their own unique take on it (as will be the case with Palmer's upcoming ukulele tribute to Radiohead out this summer). A tribute CD may collect one or two of these songs that exist but the need to fill a CD means that some bands are going to get recruited for the tribute and there's probably a deadline. The second scenario has generally been the fault of Cleopatra Records (whom we all loved when they were a real label kind of like when MTV used to play videos) who for years felt the need to put out tribute CDs on a regular basis because compilations sell and die-hard fans apparently buy tribute albums. At first we got some pretty good tributes to bands like Metallica (like em or hate em they deserve a tribute and it produced some great material) and though the Marilyn Manson one seemed premature it was pretty good, but then there was a "Goth/Industrial" tribute to Linkin Park and THAT is where I just draw the line. With all of that in mind I wasn't really sure what to think when I heard there was a tribute to Pigface. Pigface is already an eclectic band made up of so many artists that I wasn't sure what a bunch of covers would do but THEN I heard it was a Russian tribute to Pigface. This is a great tribute! Put together by Andrey "box (I swear that's how it's spelled) who fills the Martin Atkins role by contributing to several tracks, this CD is less of a tribute to the actual music of Pigface and more a tribute to the spirit in that there is a lot of experimentation with the tracks and while they may serve as a framework, most of the time the songs come off as original creations (perhaps adaptations more than anything). Several of the bands including Andrey "box's Boxhead, Spiec Boys, Crovj S Molokom, and Brompton's Cocktail are much more on the experimental end of the music and create somewhat of a meditation on Pigface with new interpretations. I particularly like the contribution NHL with a cover of Hips Lips Tits Power (here titled in Russian as Liajki Siski...Htl Power) which is very punk rock and you haven't heard raw until you hear post-communist Russian punk rock covers of industrial songs. I also really like the more traditional cover of Asphole by Arzamas-16. What I just find amazing about this CD is that halfway across the world you have a scene of musicians that are clearly inspired enough by another scene of musicians to come together and put together what is essentially a love letter to the one of the most influential bands in industrial music. There's something really beautiful about that. And you just have to appreciate the Bond-inspired titled and fantastic cover art by John Bergin. Favorite Tracks: Spiec Boys - Kiss King (Kolombo Mix), Brompton's Cocktail - Insemination, NHL - Liajki Siski...Htl Power, Das Reut - Ten Grownd & Down, and Arzamas-16 - Asphole

Album a Day: The Echoing Green - Defend Your Joy

The Echoing Green's Joey Belville has described the objective of his music to be something that makes people want to jump up and down, freak out, and kiss their mom. There's a lot of pain in the world (and certainly this is something that The Echoing Green has explored) but its sometimes nice to just have an album of happy music made with the purpose of being happy and I'd say that's something that is accomplished on this debut album from one of the mainstays of the American synthpop scene. This album was released in 1994 and at times has 90's synthpop written all over it. I really enjoy the early to mid 90's era of this genre because the hype of 80's new wave had died down and we hadn't quite moved in to the resurgence of electronic music of the later part of the 90's and 2000's so there's something very underground and passionate about those still making the music in the face of grunge, industrial, and indie rock. Synth music certainly isn't the only thing that Belville is dedicated to as he is a devout Christian. While his Christianity is always an influence, no one including Belville would really describe The Echoing Green as a Christian band, though this first album may push the limits of that if nothing else for heavily Christian liner notes and uncredited guest vocals by Christian artist Riki Michele on the title track Defend Your Joy. Nothing wrong though with Belville's Christian message (though I am an Atheist myself) but given how he brings it to the foreground in this album I think its work exploring. Back when I was a teenager I grew in Western Massachusetts and my friends and I would go to downtown Northampton a lot. In Northampton there were two types of Christians that were very present. The first were the very vocal, preachy ones that would plead for us to repent and the other ones were these very nice people that on Friday nights would bring hot chocolate, soup, cookies, etc. to a small park at the edge of main street (not just for the homeless but for everyone to enjoy. That second group is how I think of The Echoing Green's Defend Your Joy. I don't think this is their finest work as that would certainly come later with albums like The Winter of Our Discontent, but this is a great start with some really fun tracks including the title track which is a particular favorite of mine. I really love the sample on Enter Love that just pushes the track into overdrive but is also is the type of sample we don't hear often enough (presumably taken from some sort of older instructional film or recording). In addition to the original tracks there's also a pretty cool cover of Underworld's Pray and two remixes, one of the album track Terra Firma and the other of the track Deep Inside Your Heart. The original version of Deep Inside Your Heart would not appear on an official release until six years later on the compilation Oceanaria V1.0. This is a fun very danceable CD that if you're a fan of The Echoing Green will help give you perspective on where the band started out and is worth checking out. Favorite Tracks: Son In My Eyes, Terra Firma (Stand), Enter Love, Defend Your Joy, Brand New Day, and Terra Firma (Stand) (RemYx)