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Following the album 's release in Japan , it debuted at number nine on the Oricon Albums Chart . On the issue dated May 17 , 2010 , the album moved to a new peak of number seven and has since been certified platinum by the Recording Industry Association of Japan ( RIAJ ) for shipments of 250 @,@ 000 copies . In Australia , The Remix entered the ARIA Albums Chart at its peak position of number 12 on May 16 , 2010 , remaining on the chart for a total of five weeks . In the United Kingdom , the album debuted at number three on the official UK Albums Chart dated May 22 , 2010 , and has sold 166 @,@ 440 copies according to the Official Charts Company , being certified gold by the British Phonographic Industry ( BPI ) . Across Europe , the album debuted at seven on the European Top 100 Albums chart of Billboard . The Remix also reached the top of the charts in Greece , while attaining top @-@ ten positions in Belgium ( Flanders and Wallonia ) , Czech Republic , Ireland , the Netherlands and New Zealand .
In the United States , The Remix charted at number six on the Billboard 200 dated August 21 , 2010 , with 39 @,@ 000 copies sold . It became Gaga 's third top ten album on the Billboard 200 . It also debuted at number one on Billboard 's Dance / Electronic Albums making this Gaga 's third number one entry on the chart . The same week , her studio albums The Fame and The Fame Monster were at positions two and three respectively . Billboard chart manager Keith Caulfield noted that Gaga became the first act to occupy the chart 's top three positions , in its nine @-@ year history . She additionally charted on the Billboard 200 with The Fame at number 12 and The Fame Monster at number 27 , marking the first time an artist placed three concurrent titles in the top 30 since 1993 , when Garth Brooks last achieved the feat on the January 23 , 1993 , chart by placing four sets in the top 30 : The Chase at number two , Beyond the Season at number 23 , <unk> ' the Wind at number 26 and No Fences at number 29 . According to Nielsen SoundScan , The Remix has sold 314 @,@ 000 copies in US as of April 2016 . In Canada , the album debuted at number five on the Canadian Albums Chart issue dated May 22 , 2010 , and remained on the chart for a total of ten weeks . The Remix has sold more than 500 @,@ 000 copies worldwide , and it is among the best @-@ selling remix albums of all time .
= = Track listings = =
= = Credits and personnel = =
Credits adapted from the liner notes of UK pressings of The Remix . Track numbers correspond to international ( non @-@ US and Japan ) pressings .
= = Charts = =
= = Certifications = =
= = Release history = =
= Architecture of the Song dynasty =
The architecture of the Song dynasty ( 960 – 1279 ) was noted for its towering Buddhist pagodas , enormous stone and wooden bridges , lavish tombs , and extravagant palaces . Although literary works on architecture existed beforehand , architectural writing blossomed during the Song dynasty , maturing into a more professional form that described dimensions and working materials in a concise , organized manner . In addition to the examples still standing , depictions in Song artwork , architectural drawings , and illustrations in published books all aid modern historians in understanding the architecture of the period .
The professions of architect , master craftsman , carpenter , and structural engineer did not have the high status of the Confucian scholar @-@ officials during the dynastic era . Architectural knowledge had been passed down orally for thousands of years , usually from craftsman fathers to their sons . There were also government agencies and schools for construction , building , and engineering . The Song dynasty 's building manuals aided not only the various private workshops , but also the craftsmen employed by the central government .
= = City and palace = =
The layout of ancient Chinese capitals , such as Bianjing , capital of the Northern Song , followed the guidelines in Kao Gong Ji , which specified a square city wall with several gates on each side and passageways for the emperor . The outer city of ancient Bianjing was built during the reign of Emperor Shenzong to a rectangular plan , almost square in proportions , about 6 km ( 3 @.@ 7 mi ) from north to south and 7 km ( 4 @.@ 3 mi ) from west to east . The south wall had three gates , with <unk> Gate in the center , <unk> Gate to the east , and <unk> Gate to the west . The other walls had four gates each : in the east wall were <unk> Gate ( at the southern end ) , <unk> Gate , <unk> Gate , and North @-@ East Water Gate ; in the west wall <unk> Gate , West Water Gate , <unk> Gate , and <unk> Gate ; and in the north wall <unk> Gate ( at the eastern end ) , <unk> Gate , New Wild <unk> Gate and <unk> Gate . The gates in the center of each of the four sides were reserved for the emperor ; these gates had straight passages and only two sets of doors , while the other city gates had zigzag passages and were guarded by three sets of doors .
The Song artist Zhang Zeduan 's painting Along the River During the Qingming Festival depicts the <unk> Gate in detail : the building on top had a five @-@ ridged roof with a shallow slope in the Song dynasty style , supported prominently by two sets of brackets ( dougong ) . The lower bracket assembly rested on the city gate to form a wooden foundation , while the upper assembly supported the roof , similar to the dougong in an extant Song building , the Goddess Temple in Taiyuan . This method of using bracket assemblies to support superstructure was specified in Li Jie 's 12th @-@ century building manual Yingzao Fashi as <unk> ( literally " flat base " ) .
The city wall itself was built with rammed earth , a technique also detailed in Yingzao Fashi , vol . III , " Standards for Moat , Stronghold and Masonry Work " :
Foundation : For every square chi , apply two dan of earth ; on top of it lay a mixture of broken brick , tile and crushed stones , also two dan . For every five @-@ cun layer of earth , two men , standing face to face , should tamp six times with pestles , each man pounding three times on a dent ; then tamp four times on each dent , two men again standing face to face , each pounding twice on the same dent ; then tamp two more times , each man pounding once . Following this , tamp the surface with pestles or stamp with feet randomly to even out the surface . Every five @-@ cun layer of earth should be compressed to three cun ; every three @-@ cun layer of brick and stone to one and a half cun .
Rammed @-@ earth walls during this time were tapered : the thickness of the wall is greatest at the base and decreases steadily with increasing height , as detailed in Li Jie 's book .
During the Song dynasty , the city of Bianjing had three enclosures : the outer city wall , the inner city wall , and the palace at the center . The inner city was rectangular , with three doors on each side . The palace enclosure was also rectangular , with a watch tower on each of the four corners . It had four main gates : <unk> Gate to the west , Donghua Gate to the east , <unk> Gate to the north , and Xuande Gate , also known as Duan Gate or <unk> , at the south . Xuande Gate had five @-@ paneled doors , painted red and decorated with gold tacks ; its walls were lavishly decorated with dragon , phoenix and floating @-@ cloud patterns to match the carved beams , painted rafters and glazed @-@ tile roof . There were also two glazed dragons , each biting an end of the rooftop ridge , its tail pointing to the sky . The symbolic function of these chi wei was explained in Yingzao Fashi :
There is a dragon in the East Sea , whose tail ( wei ) is similar to that of a sparrow @-@ hawk ( chi ) ; it stirs up waves and causes rainfall , so people put its likeness on the rooftop to prevent fire . However , they misnamed it " sparrow @-@ hawk tail " ( chi wei ) .
Running southward from Xuande Gate was the Imperial Boulevard , about two hundred paces wide , with the Imperial Corridors on either side . Merchants opened shops in the Corridors until 1112 , when they were banned . Two rows of black fencing were placed at the center of the boulevard as a barrier to pedestrians and carriages . Along the inner sides of the fences ran the brick @-@ lined Imperial Water <unk> , filled with lotus . About 400 m ( 1 @,@ 300 ft ) south from Xuande Gate , the Bian River intercepted the Imperial Boulevard , which crossed it over the stone Zhou Bridge , balustraded and flat @-@ decked . This design of a boulevard with a stone bridge crossing a river was later imitated in the Forbidden City . During spring and summer , mingled peach , plum , pear and apricot trees adorned the banks of the Bian with a variety of flowers .
= = Buddhist pagodas = =
Following the reign of the Han dynasty , ( 202 BC – 220 AD ) , the idea of the Buddhist stupa entered Chinese culture , as a means to house and protect scriptural sutras . During the Southern and Northern Dynasties period , the distinctive Chinese pagoda was developed , its predecessors being the tall watch towers and towering residential apartments of the Han dynasty ( as inferred from models in Han @-@ era tombs ) . During the Sui ( 581 – 618 ) and Tang ( 618 – 907 ) periods , Chinese pagodas were developed from purely wooden structures to use articulated stone and brick , which could more easily survive fires caused by lightning or arson and were less susceptible to decay . The earliest brick pagoda that remains extant is the <unk> Pagoda , built in 523 , and a typical example of a Tang @-@ era stone pagoda is the Giant Wild Goose Pagoda , constructed in 652 . Although Buddhist influences on China waned after the late Tang period , numerous Buddhist pagoda towers were built during the Song dynasty . Tall Chinese pagodas were often built in the countryside rather than within a city 's walls , largely to avoid competition with the cosmic @-@ imperial authority embodied in the cities ' <unk> and gate @-@ towers . The Giant Wild Goose Pagoda , built in a city ward of what was southeastern Chang 'an , is among the exceptions .
The Iron Pagoda of <unk> Temple in Kaifeng earned it name from the iron @-@ grey color of the glazed bricks forming the tower . Originally built of wood by the architect Yu Hao , it was struck by lightning and burned down in 1044 , during the Northern Song period . In 1049 the pagoda was rebuilt as it appears today , under the order of Emperor Renzong of Song . This 13 @-@ story pagoda , structured on an octagonal base , is 56 @.@ 88 meters ( 186 @.@ 6 ft ) tall . Its glazed tile bricks feature carved artwork of dancing figures , solemn ministers , and Buddhist themes ( see gallery below ) .
The period also featured true cast @-@ iron pagodas , such as the Iron Pagoda of <unk> Temple ( Jade Springs Temple ) , Dangyang , Hubei Province . Built in 1061 , it incorporates 53 @,@ 848 kg ( 118 @,@ 715 lb ) of cast iron and stands 21 @.@ 28 m ( 69 @.@ 8 ft ) tall . Imitating contemporary wooden , stone , and brick pagodas , the pagoda features sloping eaves and an octagonal base . Another iron pagoda was constructed in 1105 , <unk> , Shandong , and was cast layer by layer in octagonal sections , standing 78 feet high . Several such cast iron pagodas exist in China today .
The Liuhe Pagoda , or Six Harmonies Pagoda , is another example of Song @-@ era pagoda architecture . It is located in the Southern Song capital of Hangzhou , in Zhejiang Province , at the foot of <unk> Hill facing the Qiantang River . Although the original was destroyed in 1121 , the current tower was erected in 1156 and fully restored by 1165 . It stands 59 @.@ 89 m ( 196 @.@ 5 ft ) tall , and was constructed from a red brick frame with 13 stages of wooden eaves . Because of its size , the pagoda served as a permanent lighthouse to aid sailors at night ( as described in Hangzhou Fu Zhi ) .
The <unk> Temple Pagoda in <unk> County of Sichuan Province ( near Chengdu ) is a brick pagoda that was built between 1023 and 1026 , according to inscriptions running along its first storey . It has a square base on a <unk> pedestal , thirteen stories totaling 28 m ( 92 ft ) in height , and multiple layers of eaves similar in style to the earlier Tang pagodas of Chang 'an , the Giant Wild Goose Pagoda and the Small Wild Goose Pagoda .
Wood @-@ and @-@ brick hybrid pagodas were also built . The first four floors of the octagonal , 42 m ( 138 ft ) <unk> Pagoda of 1045 are brick ( with wooden eaves ) , while from the fifth floor up it is entirely made of wood . Even pagodas made of stone or brick featured architectural elements that were typical of Chinese wooden buildings ; for example the Pizhi Pagoda , built from 1056 to 1063 , uses the dougong brackets typical of wooden architecture to hold up pent , shingled roofs and tiers . Both of these pagodas feature interior staircases , although the <unk> Pagoda 's only reaches to the fourth floor , and the Pizhi Pagoda 's to the fifth . However , the Pizhi Pagoda features winding exterior stairs that provide access to the ninth and topmost floor .
Although the Pagoda of <unk> Temple is the tallest extant wooden pagoda , the tallest Chinese pagoda built in the dynastic era that remains standing is the Liaodi Pagoda . Completed in 1055 , it is 84 meters ( 276 ft ) tall , with an octagonal base on a large platform , surpassing the 69 @-@ meter ( 226 ft ) <unk> Pagoda , which had held the record since its construction in the 9th century by the Kingdom of Dali . Although the Liaodi Pagoda served its religious purpose as a Buddhist landmark in the Kaiyuan Monastery of Ding County , Hebei province , its great height gave it another valuable function , as a military watch tower that was used to observe movements of the Liao enemy . Beside their utility in surveillance , pagoda towers could also serve as astronomical observatories ; one such is the <unk> Astronomical Observatory , built in 1276 and still standing today .
<unk> pagoda
= = Temples = =
It was not uncommon for wealthy or powerful families to facilitate the construction of large temple complexes , usually by donating a portion of their family estate to a Buddhist sect . Often the land already contained buildings that could be re @-@ purposed for religions use . The Fei ( <unk> ) family of the town of <unk> , located just west of Shanghai , converted a mansion on their property into a Buddhist sutra @-@ <unk> hall , and later built several other religious buildings around the hall . This spurred a boom in temple construction in the area , causing <unk> to become a major center of the White Lotus sect of Buddhism , which in turn spurred the construction of more temples and lead the town to become a significant location within the Song . The nearby town of <unk> gained prominence shortly after the fall of the Song in large part to the construction of temples and other religious buildings , which spanned the entire Song empire .
Apart from stimulating the development of urban areas , temples and religious buildings featured a number of unique aesthetic and structural features . The Temple of the Saintly Mother ( <unk> ) and the Hall of Sacrifice of the Jin Temple ( <unk> ) , located in a southeastern suburb of Taiyuan City , Shanxi province , are extant examples of early Song architecture . The Temple of the Saintly Mother is the main building of the Jin Temple , first built in the period between 1023 and 1032 and renovated in 1102 . It has a double @-@ eaved roof with nine ridges , and two dragon @-@ heads with wide @-@ open jaws biting the ends of the main ridge . The roof is supported by massive dougong brackets corresponding to drawings in Yingzao Fashi . The eaves of the Temple of the Saintly Mother curve upward slightly at each end , a characteristic of Song architecture . The columns of the façade , decorated with dragons that coil around the shafts , become progressively taller with increasing distance to either side of the central pair . The building has a porch around it , the sole example of such a structure ; another unique feature of the site is a cross @-@ shaped bridge that leads to the Goddess Temple .
The Trinity Hall of Xuan Miao Temple ( <unk> ) , situated in the heart of Suzhou city , is another example of Song architecture . In 1982 , it was established as a National Heritage Site by the Chinese government .
The Jingling Palace ( <unk> , Jingling Gong ) , a temple to the legendary Yellow Emperor located near modern @-@ day Qufu , was built in the 11th century . It was subsequently destroyed near the end of the Yuan dynasty . However , several other structures in Shou Qiu , the complex that Jingling Palace was situated in , remain intact . Two giant tortoise @-@ borne steles flank what was the entrance to the palace . One of the two steles , the Stele of the Sorrow of 10 @,@ 000 , is at 52 meters ( 171 ft ) high , the tallest unmarked stele in the country . A large pyramid constructed of rounded stone blocks , the symbolic tomb of the Yellow Emperor 's son <unk> , is located outside the Shou Qiu complex . Another important large tortoise @-@ borne stele of the same period has been preserved at the Dai Miao of Mount Tai .
= = Bridges = =
Bridges over waterways had been known in China since the ancient Zhou dynasty . During the Song dynasty , large trestle bridges were constructed , such as that built by Zhang Zhongyan in 1158 . There were also large bridges made entirely of stone , like the Ba Zi Bridge of Shaoxing , built in 1256 and still standing today . Bridges with pavilions crowning their central spans were often featured in such paintings as the landscapes of Xia Gui ( 1195 – 1224 ) . Long , covered corridor bridges , like the 12th @-@ century Rainbow Bridge in Wuyuan , Jiangxi province , which has wide stone @-@ based piers and a wooden superstructure , were also built .
While serving as an administrator for Hangzhou , the poet Su Shi ( 1037 – 1101 ) had a large pedestrian causeway built across the West Lake , which still bears his name : Sudi ( <unk> ) . In 1221 , the Taoist traveler Qiu Changchun visited Genghis Khan in Samarkand , describing various Chinese bridges encountered on the way there through the Tian Shan Mountains , east of Yining . The historian Joseph Needham quotes him as saying :
[ The road had ] " no less than 48 timber bridges of such width that two carts can drive over them side by side " . It had been built by Chang Jung [ Zhang Rong ] and the other engineers of the Chagatai some years before . The wooden trestles of Chinese bridges from the − 3rd century [ BC ] onwards were no doubt similar to those supposed to have been employed in Julius Caesar 's bridge of − 55 [ BC ] across the Rhine , or drawn by Leonardo , or found in use in Africa . But where in + 13th century [ AD ] Europe could a two @-@ lane highway like Chang Jung 's have been found ?
In Fujian Province , enormous beam bridges were built during the Song dynasty . Some of these were as long as 1 @,@ 220 m ( 4 @,@ 000 ft ) , with individual spans of up to 22 m ( 72 ft ) in length ; their construction necessitated moving massive stones of 203 t ( 203 @,@ 000 kg ) . No names of the engineers were recorded or appear in the inscriptions on the bridges , which give only the names of local officials who sponsored them and oversaw their construction and repair . However , there might have been an engineering school in Fujian , headed by a prominent engineer known as Cai Xiang ( 1012 – 1067 ) , who had risen to the position of governmental prefect in Fujian . Between 1053 and 1059 , he planned and supervised the construction of the large <unk> Bridge ( once called the Luoyang Bridge ) near Quanzhou ( on the border of the present @-@ day <unk> District and Huai 'an County . This bridge , a stone structure similar to a number of other bridges found in Fujian , still stands , and features ship @-@ like piers bound to their bases using mucilage from oysters as an adhesive . It is 731 m ( 2 @,@ 398 ft ) in length , 5 m ( 16 ft ) in width , and 7 m ( 23 ft ) in height . Another famous bridge near Quanzhou , the Anping Bridge , was constructed between 1138 and 1151 .
Other examples of Song bridges include <unk> Bridge , a stone arch bridge in Yiwu , Zhejiang Province . The bridge was built in 1213 , the sixth year of the <unk> Era in the Southern Song dynasty . Song @-@ era pontoon bridges include the <unk> Bridge , 400 m ( 1 ⁄ 4 mi ) long , which may still be seen today .
= = Tombs of the Northern Song emperors = =
Located southwest of Gongyi city in Gongxian County , Henan province , the large tombs of the Northern Song number about one thousand , including individual tombs for Song emperors , empresses , princes , princesses , consorts , and members of the extended family . The complex extends approximately 7 km ( 4 @.@ 3 mi ) from east to west and 8 km ( 5 @.@ 0 mi ) from north to south . The construction of the complex began in 963 AD , during the reign of the first Song ruler , Emperor Taizu of Song , whose father is also buried at the site . The only Northern Song emperors not buried there are Emperor Huizong of Song and Emperor Qinzong of Song , who died in captivity after the Jurchen invasion of northern China in 1127 . Lining the spirit ways of the tomb complex are hundreds of Song sculptures and statues of tigers , rams , lions , horses with grooms , horned beasts and mythical creatures , government officials , military generals , foreign ambassadors , and others featured in an enormous display of Song @-@ era artwork .
The layout and style of the Song tombs resemble those found in the contemporary Tangut kingdom of the Western Xia , which also had an auxiliary burial site associated with each tomb . At the center of each burial site is a truncated pyramidal tomb , each having once been guarded by a four @-@ walled enclosure with four centered gates and four corner towers . About 100 km ( 62 mi ) from Gongxian is the Baisha Tomb , which contains " elaborate facsimiles in brick of Chinese timber frame construction , from door lintels to pillars and pedestals to bracket sets , that adorn interior walls . " The Baisha Tomb has two large separate chambers with conical ceilings ; a large staircase leads down to the entrance doors of the subterranean tomb .
= = Literature = =
During the Song dynasty , previous works on architecture were brought to more sophisticated levels of description , as in Yili <unk> , written by Li <unk> in 1193 AD . One of the most definitive works , however , was the earlier Mu Jing ( " Timberwork Manual " ) , ascribed to Yu Hao and written sometime between 965 and 995 . Yu Hao was responsible for the construction of a wooden pagoda tower in Kaifeng , which was destroyed by lightning and replaced by the brick Iron Pagoda soon after . In his time , books on architecture were still considered a lowly scholarly achievement due to the craft 's status , so Mu Jing was not even recorded in the official court bibliography . Although the book itself was lost to history , the scientist and statesman Shen Kuo wrote of Yu 's work extensively in his Dream Pool Essays of 1088 , praising it as a work of architectural genius , saying that no one in his own time could reproduce such a work . Shen Kuo singled out , among other passages , a scene in which Yu Hao gives advice to another artisan @-@ architect about slanting struts in order to brace a pagoda against the wind , and a passage in which Yu Hao describes the three sections of a building , the area above the crossbeams , the area above ground , and the foundation , and then proceeds to provide proportional ratios and construction techniques for each section .
Several years later Li Jie ( <unk> ; 1065 – 1110 ) published Yingzao Fashi ( " Treatise on Architectural Methods " or " State Building Standards " ) . Although similar books came before it , such as <unk> Ling ( " National Building Law " ) of the early Tang dynasty ( 618 – 907 ) , Li 's book is the earliest technical manual on Chinese architecture to have survived in full .
= = = Yingzao Fashi = = =
Yingzao Fashi is a technical treatise on architecture and craftsmanship written by Li Jie , an architect and official at the Directorate of Buildings and Construction . Li completed the book in 1100 , and presented it to Emperor Zhezong of Song in the last year of his reign . His successor , Emperor Huizong of Song , had Li 's treatise officially published three years later , in 1103 , for the benefit of foremen , architects , and literate craftsmen . The book was intended to provide standard regulations , to not only the engineering agencies of the central government , but also the many workshops and artisan families throughout China who could benefit from using a well @-@ written government manual on building practices .
Yingzao Fashi included building codes and regulations , accounting information , descriptions of construction materials , and classification of crafts . In its 34 chapters , the book outlined units of measurement , and the construction of moats , fortifications , stonework , and woodwork . For the latter , it included specifications for making bracketing units with inclined arms and joints for columns and beams . It also provided specifications for wood carving , drilling , sawing , bamboo work , tiling , wall building , and decoration . The book contained recipes for decorative paints , glazes , and coatings , also listing proportions for mixing mortars used in masonry , . brickwork , and manufacture of glazed tiles , illustrating practices and standards with drawings . His book outlined structural carpentry in great detail , providing standard dimensional measurements for all components used ; . here he developed a standard eight @-@ grade system for sizing timber elements , known as the cai @-@ fen system of units , which could be universally applied in buildings . About 8 % of Li Jie 's book was derived from pre @-@ existing written material on architecture , while the majority of the book documented the inherited traditions of craftsmen and architects . The Yingzao Fashi provided a full glossary of technical terms that included mathematical formulae , building proportions , and construction techniques , and discussed the implications of the local topography for construction at a particular site . He also estimated the monetary costs of hiring laborers of different skill levels from various crafts on the basis of a day 's work , in addition to the price of the materials they would need and according to the season in which they were to be employed .
= = Architecture in Song artwork = =
= Lost Horizons ( Lemon Jelly album ) =
Lost Horizons is the second studio album from the British electronic duo Lemon Jelly , released on 7 October 2002 . Released by XL Recordings and produced by Nick Franglen , the album generated two charting singles in the UK , " Space Walk " and " Nice Weather for Ducks " ; the latter has often been called the album 's stand @-@ out track . The album , which is built around a mix of organic instrumentation and idiosyncratic samples , was met with largely positive reviews by music critics , although it was somewhat critiqued due to its near @-@ constant mellowness .
In the United Kingdom , Lost Horizons peaked at number 20 on the Official Albums Chart , whereas in the United States , it peaked at number 24 on Billboard 's Top Electronic Albums component chart . The album 's two singles , " Space Walk " and " Nice Weather for Ducks " , were also successful , peaking on the UK Singles Chart , at number 36 and 16 respectively . The album , was nominated for the Mercury Music Prize in 2003 , was eventually certified gold by the British Phonographic Industry for shipments exceeding 100 @,@ 000 copies .
= = Music = =
Lost Horizons opens with " Elements " , which " blends acoustic guitars , <unk> , synths , skittering breakbeat rhythms , a folksy harmonica , and ... a falsetto ' doo @-@ doo ' chorus " . <unk> the music is a voiceover , courtesy of English actor John Standing , that lists the basic ' elements ' that make up the world : ash , metal , water , wood , fire , and ( eventually , later in the song ) sky . The second track , " Space Walk " , is set to a recording of Ed White 's 1965 space walk on the Gemini 4 mission . Franglen and Deakin chose to use the sample after listening to an album called Flight to the Moon ( 1969 ) ; the two were struck by how moving and emotive many of the tracks were . Deakin later said , " ' One small step ' leaves me cold , because it was so obviously scripted . But the spacewalk … even after hearing it so many times , it 's so vivid . "
" Ramblin ' Man " features a conversation between an interviewer ( the voice of Michael Deakin — father of Lemon Jelly 's Fred Deakin ) and " John the Ramblin ' Man " ( the voice of Standing ) , during which he lists various places from around the world , ranging from " from small Sussex villages to major world capitals . " When listed in the order in which the locations are narrated , the message " Bagpuss Sees All Things " is spelled out midway through the song ( from Brixton at four minutes ten seconds , to San José at four minutes 31 seconds ) using the first letter of each location . The fourth track , " Return to Patagonia " , features several jazz @-@ inspired elements .
The song " Nice Weather for Ducks " is built around a sample inspired by John Langstaff 's song " All the Ducks " . This song was based on the popular Dutch children 's song , " Alle <unk> <unk> in het water " ( translated : " All the ducks are swimming in the water " ) . Franglen later said that he and Deakin were drawn to Langstaff 's recording because it " had a gentle madness to it , slightly unhinged " . The duo had attempted to clear Langstaff 's version for sampling , but were unable to . In the end , they had Enn Reitel re @-@ record the vocal snippet . Franglen , while noting that Reitel 's performance was good , said that once the sample was re @-@ recorded , its " edge disappeared " . " Experimental Number 6 " , arguably the album 's darkest track , features a faux field recording of a doctor documenting the side effects of an unnamed drug administered to a patient ; the recording tells how the patient progresses from normalcy , to an " overwhelming sense of well @-@ being and euphoria " , before eventually expiring . The album closes with " The Curse of Ka <unk> " , which features " a two @-@ part harmony chorus and jazzy drum loop " .
= = Reception = =
= = = Critical Reviews = = =
Lost Horizons received mostly positive reviews from music critics , although several critics critiqued the album 's near @-@ constant mellowness . Stuart Mason of AllMusic called the album " a delightful but slightly faceless blend of lounge pop , subtle beats , found sound , with mellow jazz influences . " A reviewer for Entertainment.ie praised the band for approaching electronica from a new angle , writing , " this London @-@ based duo employ Playschool pianos , acoustic guitars and sprightly beats to create laid @-@ back instrumentals guaranteed to sooth even the most restless of souls . [ ... ] What really marks Lemon Jelly as exciting new talents is their quirky sense of humour , which they use to brighten up their sound with skilful [ sic ] use of nursery rhymes , brass bands and offbeat samples . Pascal Wyse of The Guardian wrote , " Everything is approachable and purely crafted , but Lost Horizons cheats banality with some choice quirks : Magnificent Seven strings , astronauts chatting , panoramic sound effects . " Chris Dahlen of Pitchfork Media felt that the album was a little too saccharine at times , but that it is " the perfect disc to throw on after your four @-@ disc <unk> Dub Groove Mix has put the whole party to sleep . It 's like eight flavors of ribbon candy , beach balls hitting the ground like hail , and a big plastic clown face that blows helium . "
Many reviews singled out " Nice Weather for Ducks " as the album 's stand @-@ out track . Mason selected the " dreamy , acoustic guitar @-@ based " song as one of the album 's highlights in his review . Dahlen described it as " the most likeable " on the album , and concluded that it is " a happy @-@ <unk> lollipop of a song that nicely sums this record up : Sunny , bright , and vaguely irritating . " <unk> wrote , " When the flugelhorn arrives on ' Nice Weather for Ducks ' it is impossible to believe there is any evil in the world . " Conversely , several critics felt that " Experiment Number Six " did not fit with the mood of the rest of the album . <unk> called it a " pool of darkness " that " comes as quite a shock . " Dahlen felt that the song is " is the only break in the [ album 's ] mood . " While he enjoyed the song 's concept , calling it " so different and sinister that it 's more intriguing than the rest of the album " , he felt that it was " annoyingly displaced . " Hermann , on the other hand , called the track " clever " and " spooky " with " music ... so well crafted that [ the concept ] works " .