The final God release was actually a remix album done by friends and associates of Kevin Martin, who generally did an enjoyable job. Martin himself handles one particular mix, the "Peckinpah" version of "Bloodstream," which closes the record with an enjoyably dank revision of the original, Kiehl's percussion work here given even more prominence. Elsewhere, Martin's fellow God cohort Justin Broadrick reassembles "On All Fours" via his "biomechanical" mix, though aside from mixing out some of the original music, it's not much of a change (or an improvement -- looping Martin's "Hyeeeena!" lyric makes for a slightly silly start). Another Martin bandmate, though from Experimental Audio Research, also contributes -- Kevin Shields, who along with My Bloody Valentine drummer Colm O'Ciosoig revamps "Tunnel" into the "electro-convulsive" mix. Sax parts in particular get treated to become even more haunting and drone-tinged, while the rougher rhythm, accentuated by one of the original basslines, slowly rumbles along. Martin's spiritual cousin from New York City, Bill Laswell, tries his own take on "Bloodstream," in the wordily titled "the evening redness in the west" mix. Laswell puts Martin's vocals in a dark, stripped-down setting, bass and then drums the most prominent of the instruments, while guitar wails and riffs snake in and out of the background. Perhaps most entertaining and inspired of all the mixes comes at the beginning, though -- the "Charles Atlas" mix of "Gold Teeth," handled by the Lumberjacks, then noted for their work with New Kingdom. Martin's rasped lyrics are kept but stripped of most of the surrounding music, resulting in a loping, mysterious shuffle not far off from early Wu-Tang with a drugged-out, psychedelic overlay. It's a creative blending of styles that works better than might initially be thought.
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AllMusic Review by Ned Raggett