All of the tracks here retain the elegant and grown-up vibe of ‘Slices’, and none try to add much that wasn’t already there. Lars Behrenroth’s keeps the closest structurally, unfurling at a leisurely pace and nearing the nine and a half minute mark. Ripperton’s cut is the most reduced, pushing things toward minimal. New kid on the street Boris Hotton puts in a slightly dubby effort.
There are no sleazy basslines or pumping rhythms gerrymandered out of the parts here, and that’s no small portion of the achievement. Instead, everything good about ‘Slices’ is present in each mix. Hotton brings out a luminescent intensity, Behrenroth plays enjoyably with the melody and adds some perfect hand claps, and Ripperton leaves things stripped down in such a way that his mix glides right by you, and as soon as you’ve finished, you want it to glide by you again. Perhaps that doesn’t sound like a huge amount to go on about, but it’s the attention to detail in these manipulations that makes each of these tracks so beguiling.