Spacemen 3 Dj Tones Ep Rare
CD, the ultra rare remix of 'I Love You' (originally only 50 promo white label vinyl. Find album reviews, stream songs, credits and award information for DJ Tones - Spacemen 3 on AllMusic - 2008.
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And so the Spacemen return. On record, at least.
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Britain's Space Age Recordings, home to Sonic Boom's Spectrum and E.A.R. And overseer of numerous Spacemen 3 reissues and archival projects, offers up an intriguing little flashback of symphonic ecstasy. The cheekily-titled DJ Tones - though there may be 'tones' here ripe for sampling, don't expect any house-thumping beatz. And so the Spacemen return. On record, at least. Britain's Space Age Recordings, home to Sonic Boom's Spectrum and E.A.R. And overseer of numerous Spacemen 3 reissues and archival projects, offers up an intriguing little flashback of symphonic ecstasy.
The cheekily-titled DJ Tones - though there may be 'tones' here ripe for sampling, don't expect any house-thumping beatz - brings together five tracks (two of which have never been issued before) that perfectly recapture the cerebral S3 magic. You know Spacemen 3: extant from the mid ‘80s to the early ‘90s, the Rugby, England, based outfit nicely bridged the garage/psych, postpunk and shoegaze eras with a heady mix inspired by - as evidenced by the covers they not only worked up but inhabited - the Velvets/Lou Reed, Suicide, the Stooges, the Red Krayola and other avatars of primal, cortex-uncorking tuneage. The band subsequently begat the aforementioned Sonic Boom's (aka guitarist Pete Kember) projects, as it did Jason Pierce's Spiritualized. In S3's critically hailed, timeless classic, 1987's The Perfect Prescription, the stirrings of those groups were clearly foreshadowed, although by some measures neither man, though issuing scores of brilliant post-S3 records, has ever fully matched that artistic peak.
(There's a reason we judge certain albums 'timeless' and 'classic.' ) DJ Tones revisits The Perfect Prescription via two songs indelibly associated with it, 'Transparent Radiation' and 'Ecstasy Symphony.' 
The former, a Red Krayola song, is presented as a radical remix with guest Owen John's signature violin figure featured far more prominently than on the original album or on the posthumous Forged Prescriptions double-CD collection of demos and alternate takes; there's a shuddery, almost beatific quality that borders on gospel-blues, and the vocals, likewise, take on a hushed, reverent tone that's almost prayerful. The latter appears to be the same 9:05 version from Forged Prescriptions: shimmering, undulating, hissing, droning and, true its name, swooning in harmonic ecstasy, the pillowy instrumental denouement to an extended drug high. Another old S3 fave makes a reappearance: a remix of 'I Love You,' originally from the band's 1991 swansong 'Recurring.'
By this point Kember had developed an overt fondness for the motorik vibe of Krautrock legends Neu! And Can, and it shows in the throbbing, hypnotic pulse that runs throughout what's otherwise a richly melodic pop (love) song.