Greg Wilson, whose own work with tapes predated a wave of re-edits that (with the help of novice-friendly technology) permeated dance music during the 2000s' first decade, this disc takes a knife — real or virtual — to ZE, one of the premier left-field imprints of the late '70s and early '80s, best introduced on the expanded two-disc reissue of their Mutant Disco compilation. (Get that, at the very least, before this.) These re-edits don't necessarily put a more dynamic spin on the originals. Sometimes, they are less about increased dynamics and more about alternative functionality, as exemplified by Rub 'n' Tug, who merely slow Material's muscular, charging "Bustin' Out" (featuring the great Nona Hendryx) to a prowl. Other edits are relatively drastic. Special credit goes to Luke Howard and Felix Dickinson, who make Aural Exciters' "Spooks in Space" deliriously odd by teasing out and layering its chants, rippling water effects, and lunatic xylophone runs.
Greg Wilson, whose own work with tapes predated a wave of re-edits that (with the help of novice-friendly technology) permeated dance music during the 2000s' first decade, this disc takes a knife — real or virtual — to ZE, one of the premier left-field imprints of the late '70s and early '80s, best introduced on the expanded two-disc reissue of their Mutant Disco compilation. (Get that, at the very least, before this.) These re-edits don't necessarily put a more dynamic spin on the originals. Sometimes, they are less about increased dynamics and more about alternative functionality, as exemplified by Rub 'n' Tug, who merely slow Material's muscular, charging "Bustin' Out" (featuring the great Nona Hendryx) to a prowl. Other edits are relatively drastic. Special credit goes to Luke Howard and Felix Dickinson, who make Aural Exciters' "Spooks in Space" deliriously odd by teasing out and layering its chants, rippling water effects, and lunatic xylophone runs.