{"id":16444,"date":"2025-12-06T23:05:30","date_gmt":"2025-12-07T04:05:30","guid":{"rendered":"https:\/\/heavensmetalmagazine.com\/?p=16444"},"modified":"2025-12-07T09:44:21","modified_gmt":"2025-12-07T14:44:21","slug":"review-celldweller-celldweller-definitive-edition","status":"publish","type":"post","link":"https:\/\/heavensmetalmagazine.com\/index.php\/2025\/12\/06\/review-celldweller-celldweller-definitive-edition\/","title":{"rendered":"Review: Celldweller – Celldweller (Definitive Edition)"},"content":{"rendered":"\n
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History of a Celldweller<\/strong><\/h2>\n\n\n\n

Originally released in 2003 on Esion Media\/Position Music and produced by Klayton and Grant Mohrman, the 18-track self-titled debut made quite an impact upon the (then burgeoning) electronic music scene. Not only did this collection of songs introduce the new musical incarnation of Klayton (who had been absent from the scene since 1998\u2019s Circle of Dust \u2013 Disengage<\/em>), but the album would open doors for Klayton into a much larger universe of video game and cinematic music.<\/p>\n\n\n\n

See below for my original release date review (oozing with enthusiasm!) circa 2003\/2004:<\/p>\n\n\n\n

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Celldweller<\/em><\/strong><\/h3>\n\n\n\n

Hah! I knew Scott Albert aka Scott Clay, aka Klayton wasn\u2019t done after COD called it quits. Mr. Electronica is back \u2026 and in fantastic form. No, this isn\u2019t more techno\/industrial metal ala Circle of Dust, but it is smoking hot \u2013 and incredibly infectious \u2013 electronica with a really heavy and trance-like vibe. The kicker is this: unlike most electronic stuff you hear on BPM or the radio, these songs have memorable melodies and words tagged to the intense and erotic beats. I haven\u2019t heard a better programmer than Klayton, his beats, ambient effects and keys just mesmerizing. There are even some incredibly warming acoustic guitar parts, like at the beginning of \u201cUnder My Feet.\u201d \u201cSwitchback\u201d is a song that would be wonderful for some kind of movie soundtrack. And the artwork and layout on this product is breathtaking. While Scott seems to be struggling with faith issues right now, his honest lyrical outpouring is to be admired. There are 15 songs here, with a little filler, but this is seriously the best thing I have heard in this genre ever. Metal? No. But there is enough heaviness in these tunes to make any lover of loud and intense music rejoice. Not to mention, this is a reference CD for the best audio system. Classic!<\/em><\/p>\n\n\n\n

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Celldweller – 10 Year Anniversary Edition<\/em><\/strong><\/h3>\n\n\n\n

Fast forward 10 years. The 10 Year version was released in digital download, 2 CD formats with original 2005 demo songs along with a few songs culled from 2003\u2019s The Beta Cessions<\/em> (including \u201cGoodbye,\u201d \u201cUncrowned,\u201d the Bee-Gee\u2019s cover \u201cTragedy\u201d and \u201cShapeshifter.\u201d See my original review (below) circa 2013.<\/p>\n\n\n\n

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The original Celldweller self-titled debut was a monumental release in the world of electronica, and it set the stage for the plethora of material that Klayton would subsequently release for entertainment of all forms, to include motion pictures and video games. Not one to be content with the status quo, Klayton has remixed many of the songs from this release previously on the double CD The Beta Cessions.<\/em><\/p>\n\n\n\n

This time around, for the 10th<\/sup> anniversary celebration, FIXT presents the original recording (cleaned up maybe) in its original format (15 songs with the 3 interlude tracks) and an entire second disc of tracks not previously released on CD. While the original release speaks for itself (too many amazing songs to mention each in detail here), it is worth noting that these songs still sound amazing and cutting edge 10 years later, although the slower pace (and the absence of dubstep) on most of these tunes may be less appealing to the current scene-dwellers.<\/em><\/p>\n\n\n\n

Disc 2 is filled with two new songs, remixes by Klayton (to include 2 more versions of \u201cSwitchback\u201d), a Bee Gees cover tune (\u201cTragedy\u201d) and 5 tracks of unreleased demo material from 2005 and 2006. Of course, in this collection we finally have \u201cShapeshifter\u201d on CD (in 2 different versions no less). By far the most interesting song is the dubstep infused \u201cUncrowned\u201d because it was intended for release with the debut, yet it sounds more like much of Klayton\u2019s subsequent work. It\u2019s a great song, the lyrics included in the 6-panel fold-out insert which also contains all the lyrics from the debut and a mini-poster on the back side.<\/em><\/p>\n\n\n\n

As with all things Celldweller there is plenty to process here and enjoy for many hours, and even though most of this stuff is available for digital download there is always something extremely satisfying about having all these great songs in one place on CD. About the only deficiency here \u2013 it would have been nice to have some liner notes or a little history about the origin of these tunes and about the formation\/history of Celldweller, one of the most innovative and creative acts of the digital era.<\/em> 10<\/p>\n\n\n\n

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Note: In 2017 the debut was released on vinyl (FiXT) for the first time ever. The 2LP 180-gram format (pictured above) with transparent \u201cice blue\u201d is gorgeous and includes all original 18 tracks plus \u201cUncrowned.\u201d This lush version came in gatefold with beautifully illustrated 12-page 12×12 booklet and bonus turntable mat<\/strong> (pictured below).<\/p>\n\n\n\n

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Doc’s Rega Planar 6 Turntable<\/figcaption><\/figure>\n<\/div>\n\n\n
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Celldweller \u2013 Definitive Edition<\/em><\/strong> (2025)<\/strong><\/h3>\n\n\n\n

In truly Klayton style, the self-titled debut was reissued in 2024 in digital download<\/a> (Bandcamp) and earlier this year with more grandeur than ever on CD<\/a> and vinyl <\/a>versions (FiXT).<\/p>\n\n\n\n

The original release songs have been remastered for this edition by Brian Skeel and the noticeable impact is tons of low-end punch \u2013 especially the bass on the vinyl \u2013 and also a wider frequency appeal.<\/p>\n\n\n\n

First, the digital download version (released in 2024) of this beast consists of 55 tracks! Insane amount of material, but just about every rendition of these songs plus bonus rare, demo and remixes of many of the songs, some of which were released on the 10th<\/sup> Anniversary <\/em>version and some of the remixes never previously released.  The CD version (track listing below) includes versions that are unique to the Definitive Edition<\/em> version (annotated in bold), but some of the disc two songs were also included on the 10th<\/sup> Anniversary<\/em> disc two. I don\u2019t know how much of the bonus material was remastered (if any) for the 2024\/2025 releases.<\/p>\n\n\n\n

The 2CD comes in a triple gatefold digi (hard plastic trays) and 16-page booklet (distinct from the 2013 version) including credits and lyrics but rather spartan artwork.<\/p>\n\n\n\n

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However, the 3LP vinyl version is even more lush than the 10th<\/sup> Anniversary<\/em> vinyl with triple gatefold, full-color sleeves (pictured below), multi-colored vinyl (pictured above) and a 12-page booklet which mirrors the CD booklet but much easier to read.<\/p>\n\n\n\n

Also, the vinyl version contains several exclusive tracks (not included on the 2 CD set): \u201cOwn Little World (Klayton\u2019s We Will Never Die Mix),\u201d \u201cShapeshifter (Tessaracts Remix),\u201d \u201cOne Good Reason (Drum Corps Remix)\u201d and \u201cWelcome to the End (Nouveax Arcade Remix).\u201d (All of these are on the digital download version).<\/p>\n\n\n\n

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The Songs (\u2026an interview with self!?)<\/strong><\/h4>\n\n\n\n

\u201cSo how does this all sound?\u201d<\/strong> Well, the digital versions benefit from the remastering for sure (more bass, more treble clarity) but it all sounds so good, clean and well-mixed and produced. The vinyl version is noticeably more bass-y than the 2013 vinyl version which fits with a \u201cclub environment.\u201d<\/p>\n\n\n\n

\u201cBut what about the songs, do you remember the songs?\u201d<\/strong> Oh yeah, these songs are iconic. I cut my electronic rock teeth on the music of Celldweller \u2013 this release specifically. \u201cSwitchback<\/strong>,\u201d in particular, is a song I never get tired of listening to. This song possesses heavy groove, just a touch of rap, the perfect contrast of melodic and harsh vocals and the provoking lyrics. So true to life, this song. The original release contains so many great moments. \u201cStay With Me (Unlikely)<\/strong>\u201d \u2013 an exercise in the struggle for self-control \u2013 is a holdover from the music of the much underrated Disengage<\/em>.<\/p>\n\n\n\n

\u201cAnd who says electronic dance rock can\u2019t be epic?\u201d<\/strong> That\u2019s right. \u201cThe Last Firstborn<\/strong>\u201d is an amazing track laced with all kinds of nuances, an infectious groove\/beat, plenty of pace\/rhythm changes, a frenetic pace and killer lyrics. Likewise, the evocative \u201cFrozen<\/strong>\u201d visits the online world of virtual reality where \u201csynthetic ecstasy\u201d allows complete escape (and comfort) from the harshness from the \u201cactual reality\u201d of living in the flesh. Both songs clock in at 7 minutes, but you would never know it when engulfed in the listening experience.<\/p>\n\n\n\n

\u201cWhat are some other highlights?\u201d<\/strong> There are some very deep tracks on this release. For instance, the acoustic guitar driven \u201cUnder My Feet<\/strong>\u201d is one of the truly balladic tunes, deals with suffering and how we put ourselves in situations where we literally, \u201ccan\u2019t get out from under\u201d our own feet.<\/p>\n\n\n\n

\u201cSymbiont<\/strong>\u201d is another highlight for me and inspired me to put SYMBYNT on my 2013 Ford Focus ST hatch plates! (Truth). Not only does this song feature some incredible electronic rhythm wizardry (a preview of what Klayton would bring in full force on Blackstar<\/em>), but I just love the lyrics \u2013 the struggle to not be controlled\/compelled by anything yet the need to be dependent upon it all the same. With my car experience, she can\u2019t go without me behind the wheel, and I can\u2019t live vicariously married to speed and cornering without her! A truly symbiotic relationship we have (laughs).<\/p>\n\n\n\n

\u201cFadeaway<\/strong>\u201d is another deep, brilliant song. The theme that we are our own worst enemy seep into many songs, none so more than on this one. Just check out these lyrics,<\/p>\n\n\n\n

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\u201cI set myself up for the fall\/withdrawing deep into the hole\/this isolated cell leaves me cold and faded\/I\u2019m my one and only friend\/I am my own worst enemy\u201d<\/strong><\/em><\/p>\n\n\n\n

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\u201cWe cover metal and heavy rock here. Are there any heavy metal moments on the album?\u201d<\/strong> Well, when you listen to and read the lyrics and truly immerse yourself in what it has to offer you realize that it is a very heavy album \u2013 both metaphorically and musically. The emotions and struggles Klayton expresses are very visceral, things to which all of us can relate and yet the music is so cleverly constructed, so diversified that the entire 70 minutes elapses all too quickly.<\/p>\n\n\n\n

But yes, some songs bring it pretty heavy musically. I think \u201cOne Good Reason<\/strong>\u201d is the angriest song here \u2013 hurt by words or actions of another \u2013 the guitars shred and the drums rock it hard.  Also, \u201cOwn Little World<\/strong>\u201d is a heavy track with some distorted harsh vocals and a driving beat. To me this song with its \u201cI will never die\/we will never die\u201d chorus is kind of like a metal anthem. I love this song.<\/p>\n\n\n\n

Alternatively, \u201cSo Sorry to Say<\/strong>\u201d is a light bouncy heavily percussive number but there are these heavy guitar power chords in the chorus sections. In electronic dance music there is this conception you can\u2019t be heavy, but Klayton puts in plenty of crunchy guitars, something likely stemming from his metal days in the early 90\u2019s.<\/p>\n\n\n\n

\u201cAre there any exclusively instrumental moments on this album?\u201d<\/strong> Yes, the ethereal \u201cThe Stars of Orion<\/strong>\u201d harkens back to what Klayton experimented with on Disengage<\/em> with \u201cThulcandra\u201d and \u201cPerelandra.\u201d These are ethereal ambient tracks, something he later expanded upon greatly. Also, I think the 3 \u201ccell\u201d tracks play into the cinematic leanings, much of Klayton\u2019s music inspired by sci-fi film and fiction.<\/p>\n\n\n\n

\u201cMany of our readers are interested in Klayton\u2019s perspective on issues of faith. Do you see any evidence of spiritual struggles, revelations or victories in this music?\u201d<\/strong> Oh yes, it\u2019s there if you look carefully. I mean, really, it is present on most of these songs. But I would say the song \u201cI Believe You<\/strong>\u201d provides some important insight into where Klayton was at this point in time. \u2018I\u2019ll do your will and not ask why\/But that\u2019s all right because I believe you.\u2019 Elements come through in \u201cSo Sorry to Say<\/strong>\u201d as well, the idea of desiring to please and partake in what God has to offer yet being \u201cso close yet so far away.\u201d<\/p>\n\n\n\n

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