KLF Recovered and Remastered: The KLF Remix Project Part III – An In-Depth Review

Re-examining my previous proto-ambient post, I realized that I ever-so-briefly touched upon my latest KLF acquisition, but offered little in the way of insight or feedback about the record.

Well I am nothing if not thorough with this blog, so I’m back to offer a proper, track-by-track review of this disc.  (Hey, it’s not every day that NEW KLF material comes around, so let’s do this right.)

Musical Context:
I came into MINUS FOUR having recently explored The Orb’s collaboration with David Gilmour, and their new 2013 effort with Lee “Scratch” Perry.  I have also been getting into Klaus Schulze’s earliest works (including those with The Cosmic Jokers, Ash Ra Tempel, Tangerine Dream and his solo recordings produced between 1972 and 1978.)  So my musical environment at the time MINUS FOUR arrived was certainly one of ambient, German-influenced space music, with a healthy touch of dub.


Innerspaceboy’s Review:
“What Time Was Love¿ (Anti-Club Mix)” is an excellent opener to the EP.  It builds anticipation, opens the listener’s pours to absorb the slightest and most minimal of musical events, and clearly communicates that this is quality headphone music.

The subtleties are clearly audible throughout the track, demonstrating what purchasers of the earlier Recovered & Remastered EPs already know: this album is no victim of the loudness war.  It is magnificently mastered and enjoyed best through a quality pair of circumaural cans.

“Kylie Said Deeper (Microphase Remix)” introduces the first steady rhythm of the EP.  But this is not dancefloor music – it is deep, heady techno and wonderfully entrancing.

With your mind warmed-up by these openers, you’re ready to go all-in with track three – “What Time is Dub¿ (Salz Acid Dub Mix).”  Your eyes are closed in musical meditation and your pulse matched to the deep, steady beat of this beautiful mix.  I particularly loved the build leading to the beloved “Kick out the Jams” sample, which is silenced after the crowd cheers and the listener is left in a wonderful sonic void as the bass comes back in.  Well done.

“Build A Fire (Agent Cooper’s Damn Fine Ambient Mix)” has a pulse of its own as well, but it’s an elegant implied pulse that one can only find with dark ambient music.  This is the sort of mix we might expect if Black Swan were asked to toy with KLF samples, and the result is splendid.

“Madrugada Eterna (Live From The Lost Continent Original Version)” is a segment from EP 6, and while I would usually dismiss excerpted/previously-released tracks, the song is well-placed here in the mix.  The tempo is slightly elevated, and continues the ambient theme of the record.  It is enjoyable and fitting transition to the next track –

“Kylie Said To Jason (Trance Kylie Express)” is one of the most uptempo tracks on the EP, but the bass isn’t overpowering, the hi hat is steady, and the samples continue the listener on the exciting path of quality, new KLF mixes.

“Build A Fire (In The White Room Noisesurfer Mix V2)” takes you right back into deep, minimal, headphone house.  The samples are so slight and smooth that I loose myself completely to the song.  Just the way I like it.

“The Monumental Tribute Mix By Strawb” closes the EP beautifully.  Imagine a “spacey” re-imagining of “Live From The Lost Continent 2012.”  It’s lively and exciting, and two minutes in a solid, melodic bass riff comes in and gets your head nodding.  The samples aren’t introduced quite as fluidly as they are on “Lost Continent ’12,” but honestly, that’s a high standard to hold any track to.

All in all, MINUS FOUR is an excellent mix which matches the production quality of all the other fine releases in this collection.  Highly recommended.

Published in: on August 29, 2013 at 5:51 pm  Leave a Comment  
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