Originally released in February 1984, Into the Gap was the Thompson Twins’ fourth studio album and a defining moment for the British pop trio. Produced by Alex Sadkin (who’d previously worked with Grace Jones and Duran Duran), the album is unmistakably a product of the 1980s–characterized by shimmering synthesizers, intricate programming, and vibrant rhythms. The massive success of hit singles like “Doctor! Doctor!” and “Hold Me Now” marked a turning point for the group, elevating them from cult favorites to mainstream pop stars.
Comprised of Tom Bailey (vocals, bass, keyboards, programming), Alannah Currie (percussion, backing vocals, saxophone), and Joe Leeway (percussion, backing vocals), the Thompson Twins had transitioned away from the larger band heard on earlier records like 1981’s A Product Of…(Participation) and 1982’s Set to this streamlined trio for 1983’s Quick Step and Kick–which earned them their first UK top-10 single in “Love On Your Side.” With this lineup they found their stride, blending infectious pop melodies with an experimental edge of new wave and synth-pop.
To celebrate its 40th anniversary, Into the Gap is being reissued on Blu-Ray Audio as the 29th entry in SuperDeluxeEdition.com’s ongoing ‘Surround Sound Series.’ The Blu-Ray edition is essentially a box set housed within a single disc, containing brand-new 5.1 surround sound and Dolby Atmos remixes from expert producer David Kosten alongside 30(!) stereo-only bonus tracks as well as a brand-new remaster of the original 1984 mix. The Atmos mix is also available to stream on Apple Music, Tidal, and Amazon Music.
This is the fourth classic album that Kosten has remixed in Dolby Atmos, following Mike Oldfield’s Tubular Bells (1973), Paul Young’s No Parlez (1983), and Keane’s Hopes and Fears (2004). Into the Gap was always a great-sounding record, but this immersive presentation takes it to another level. Right from the opening notes of “Doctor! Doctor!”–where the popcorn-esque main synth melody is completely isolated in the side surround speakers–I knew it was going to be a wild ride.
Unlike in Kosten’s previous three Atmos mixes, the center channel is a very active participant in the proceedings–supplying not only Tom Bailey’s vocals, but also the bass guitar and some of the lead synth parts. Harmonies from Currie and Leeway are often placed directly behind the listener, while the height speakers are engaged for a variety of additional ‘sound design’ elements including percussion and keyboards.
The harmonica in “You Take Me Up” hovers between the front stage and side surrounds, triggering the wide speakers in a 9.1.4 or 9.1.6 setup. Background vocals fill up the side and rear speakers, alternating with Bailey’s lead in the center channel. During the chorus, the marimba appears directly overhead.
"These vintage remix projects require a very specific set of skills. The bulk of the work I do goes into exacting recreations of the original stereo mixes before breaking the individual elements out into the immersive space. So while I know I’ve come into this relatively new area at quite a decent level, getting to work on these classic records, I spent a ton of time making sure I was up to the task and responsibility. I also think clients recognize that I'm high up on the obsessive scale when it comes to reproducing all those finer details and won’t let them down [laughs]."
David Kosten, May 2024
Moving into “Day After Day,” the keyboard part at the very beginning slowly journeys from front-to-rear as electronic percussion bursts from the rear heights. The choppy rhythm guitars hover between the front and front height speakers, while double-tracked vocals (‘upside down’) and cymbal crashes percolate from the side surrounds. The short synthesizer solo at around 2:30 extends from the sides up into the height array.
Reverberant keys fill up the front and side speakers for “Sister of Mercy,” while a synth part answers from the right rear channel. Percussion dances overhead, with harmonies appearing directly behind the listener. The falsetto backing vocals during the chorus envelop the listener from the side surrounds.
A pulsating keyboard line from the left side speaker introduces “No Peace for the Wicked,” quickly countered by electric guitar off to the right. Percussion takes the rear, with the synth brass up in the rear heights. There’s an especially fun moment just after the two-minute mark where the vocals (‘satellites spin through the air…’) rapidly swirl all around and above the listener to spectacular effect.
Another standout is the title song "The Gap," which incorporates exotic Middle East-inspired instrumentation and rhythms. The stuttering vocal sample that opens the track sits between the front and side speakers, quickly joined by flute from the front right channel and tambourine in the rear heights. The backing vocal chants of ‘east is east’ and ‘west is west’ blast from behind, alternating with handclaps from the front heights.
“Hold Me Now,” a sweeping ballad with an anthemic chorus, is perhaps the group’s most famous song. Castanets rain down from the front heights, underpinning the bouncy synth melody from the side surrounds. The iconic chorus sounds massive in Atmos, with the trio’s vocals attacking from all angles. Towards the end, Joe Leeway’s Beach Boys-esque falsetto pops up in the rear to very fun effect.
Bass synth from the center duels with eerie synthesizers in the rear heights for the atmospheric “Storm on the Sea.” The stereo chorusing effect on Bailey’s voice is spread out into the side surrounds, adding extra depth and dimensionality to the vocal in the expanded soundstage. Percussion trickles in from the rear, along with harmony vocals during the chorus.
"Massive treat for me to work on Into The Gap in Dolby Atmos. The icing on the cake being Tom Bailey visiting my studio for a listen and to make comments during the process. My mission was to really make use of all the speaker options, including lots of action in the centre, rear and overhead speakers, whilst maintaining the flow and integrity of the original stereo mixes. The music is often complex and multi-layered, so this was a perfect opportunity to hear all the lovely details and individual parts more clearly by opening up the tracks fully into the space."
David Kosten, September 2024
Electric guitar appears centered in the side speakers at the very beginning of “Who Can Stop the Rain,” seemingly projecting inside the listener’s head. The funky bass part protrudes from the center channel, playing nicely off the groovy percussion spread out behind and above the listener. During the chorus, Bailey’s double-tracked vocals extend up the rear heights while Currie can be heard on its own in the rear.
Into the Gap is a shining example of what made the Thompson Twins such a vital part of the 1980s music scene. Each track on the album brings something distinct to the table, incorporating influences from a variety of genres including world music, funk, and soul. It’s a record that continues to inspire and delight, proving that great pop music never goes out of style.
David Kosten has done an exceptional job remixing the album in Dolby Atmos. The immersive mix effectively honors the original stereo presentation while also teasing out hidden details in the dense arrangements–putting a fresh new spin on an old classic. For fans of ‘80s synth-pop and immersive audio, this Blu-Ray release isn’t one to miss!
