This remix re-issue of Tim Burgess' LP from last year, Oh No I Love You, has managed to transform itself into an entirely other entity. By enlisting a whole list of collaborators, Burgess has completely remoulded his original work, in parts triumphantly, in other parts less so. It is quite a brave decision by any artist to give their contemporaries free rein to alter and edit their material. I cannot be certain how much involvement Tim had in its production, but new record Oh No I Love You More has shed the style of its predecessor altogether.

Burgess' early 90s Madchester roots are however, oddly enough, perhaps better represented on this dance music-influenced …More version than on his solo original. On the final track, 'The Graduate – Hatcham Social – kidd & kidd Remix' there are the kind of electronic loops which remind us of his very own Charlatans or fellows of that scene from which he sprang, acts like the Stone Roses or Happy Mondays.

Another track which I believe works better on the remixed version is 'Anytime Minutes' remixed by Django Django. Half analogue, half digital: piano melody and basic vocals are paired with riffs that could have been ripped straight off a computer game. The second appearance of 'Anytime Minutes', this time remixed by Factory Floor in conjunction with Nic Colk Void, has become an almost constant headache-inducing drone. It is confounding how one song as stimulus can produce such varied incarnations, alternately pleasant and unpleasant.

What hits us like a hammer with its firing beats is central track 'White', remixed by Factory Floor/Gabe Gurnsey. It is topped off, like the cherry on a cake, with a Mark Ronson-esque token horns section; a somewhat superfluous addition to an otherwise monotonous piece of music. On the other hand rather more peaceful, though equally monotonous, we have the opening monologue of 'A Case for Vinyl' covered by Kurt Wagner. It might as well have been read aloud by your PC due to its deficiency of enthusiasm and intonation. This provides the anomalous introduction for an erratically curated LP, utterly at odds with itself.

One song which failed to make it onto the original record is 'Stoned Alone Again Or – Seahawks Remix', but which was released in 2012 as part of double A side single 'A Gain/Hours'. This is a wonderfully tranquil piece of music, pensive and wandering, much like the company of stoners themselves. Also rather beautifully atmospheric is the Asia Argento version of 'Hours/Ours'. It has the enigmatic touch of a John Barry bond theme, with sweeping strings and seductive female vocals. On this occasion, the X factor is present on …More where it is absent on Burgess' original.

'The Doors of Then' is quite a Beatlesy little ditty - upbeat and simultaneously nostalgic. This vibe is captured and enhanced very effectively by the Horrors and Tom Furse in their remix. They manage to make the listener feel even more distant with blurred, echoey vocals yet the instrumentation is louder and more present than ever.

Overall I would say this record is unbelievably eclectic; what is successful about it is that in selecting such varied tributes to Oh No I Love You, Tim Burgess has undoubtedly created something that manages to be more. …More reveals utterly new content and in places, wondrously surprising results. Whereas perhaps one could enjoy the whole of the first record due to its unified style, it is not the same case with Oh No I Love You More. Burgess could either win or lose fans with this compilation - it is such a mixed bag of polar opposites, each fighting for prominence. It serves to show how one source of inspiration can stimulate artists to produce dramatically different results. If you love some of these tracks, you will hate others: suck it and see.