Evans has been responsible for a number of fine Pearl Jam Atmos mixes in recent years, including the band’s storied, 13x platinum-selling debut, August 1991’s Ten. “Getting to remix the records I loved as a kid in Atmos is pretty special,” Evans admits. “But I had a big concern with Ten, because that record’s so important to me. I know it’s really important for so many other people too, and I didn’t wanna mess it up.” Mission accomplished, Josh. Just cue up his push/pull Atmos approaches to “Alive” and “Jeremy,” and also dig how “Master/Slave,” the name for the brooding instrumental interlude that both precedes the opening track “Once” and follows the denouement of the last track “Release,” coils and unwinds all around you in an essentially infinite full-circle loop.
Mettler: I agree — it’s one of my favorite tracks of theirs in Atmos. To wrap things up, I’m sure you can’t say what you’re doing from the Pearl Jam catalog next in Atmos, but I have an educated guess. (Evans laughs) What else would you like to do in Atmos besides that? Evans: Well, the catalog stuff is fun to do, yes. But what I’m excited for next would be to be involved in a project where Atmos was the prime format, you know? The music would be written for it. I’ve always thought it would be cool if, say, you have a singer/songwriter record where you listen to it in stereo, and it’s a guy and a guitar. And then you listen to it in Atmos, and it’s the guy and the guitar with a band, and then with an orchestra. I think that would be really interesting.
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Evans has been responsible for a number of fine Pearl Jam Atmos mixes in recent years, including the band’s storied, 13x platinum-selling debut, August 1991’s Ten. “Getting to remix the records I loved as a kid in Atmos is pretty special,” Evans admits. “But I had a big concern with Ten, because that record’s so important to me. I know it’s really important for so many other people too, and I didn’t wanna mess it up.” Mission accomplished, Josh. Just cue up his push/pull Atmos approaches to “Alive” and “Jeremy,” and also dig how “Master/Slave,” the name for the brooding instrumental interlude that both precedes the opening track “Once” and follows the denouement of the last track “Release,” coils and unwinds all around you in an essentially infinite full-circle loop.
Evans: Well, the catalog stuff is fun to do, yes. But what I’m excited for next would be to be involved in a project where Atmos was the prime format, you know? The music would be written for it. I’ve always thought it would be cool if, say, you have a singer/songwriter record where you listen to it in stereo, and it’s a guy and a guitar. And then you listen to it in Atmos, and it’s the guy and the guitar with a band, and then with an orchestra. I think that would be really interesting.