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- Clock Without Hands
- Bewitched (Plone mix)
- The Last Astronaut (Andy Votel mix)
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There are two types of people that will buy this 2-disc set: those who have every single release Godflesh has ever thought about putting out and those who don't have any Godflesh at all. The first disc, subtitled 'flesh of god', is a best-of collection (not my personal favorites, but hey, what can you do?) the 'Slavestate' and 'Pure' album tracks are remastered by Justin Broadrick, but otherwise the first disc's tracks are just selected album tracks from their first album (1988's "Godflesh") to their most recent (2000's "Us & Them").
Earache
The second disc, subtitled 'beyond the flesh' is the real treat and the real draw for fans, as it consists entirely of rare, out of print, compilation and exlusive tracks. As good as these tracks are, the disc is lacking: 2 BBC Peel Session tracks are missing, some mixes aren't as clear as they could be, and track selection isn't anything to write home about. Although I am disappointed in the track selection, it is varied; 1988's 'Love is a Dog from Hell', several new mixes of recent material, and compilation appearances, including the very unusual, very mellow "Empyreal 2". The album's liner notes are a short retelling of the band's history that does go through the beginnings of the band from Fall Of Because, Head Of David and Napalm Death, but doesn't give a lot of insight into the music itself, and includes an abbreviated discography. If you haven't heard any Godflesh at all and want to hear the evolution of Godflesh's sound over the years without picking up all the releases, or if you're a fan who wants the 2nd disc's exclusive material, this set is for you. If you're just a casual fan, you might be better off with a proper Godflesh album.
 
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- Like Rats
- Tiny Tears
- Us and Them - Defensive Remix
- Xynobis - clubdubedit
 
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- Hypertension
- Cruise Mode 101 (feat. Chicago's Rubberoom)
- Sub Species
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Imagine you're stranded on a rooftop in the middle of a city with cloudy skies above and nowhere to go. Cars buzz past on their way to nowhere in particular and as the day slowly passes, their exhaust fumes fill the air. Time goes by but you know it's an illusion. The world is moving but you're still waiting, watching. This is the feeling imparted by this follow up to Symptoms' rather more varied and up beat self titled debut.Danish sonic explorer Klaus Amitzboll has augmented his one guitar one computer set up with interspersed traffic sounds and this time lets the music unfurl slowly in a suite of deep bass moods coloured predominantly grey. Where Symptoms' first album often relied on a beat backbone is a much more stripped down and atmospheric affair, and consequently the guitar source seems more apparant. Mixed with help from his brother Fred Amitzboll of the excellent machine rock trio Silo, this is otherwise one man's paen to the deadening effect of city living. Two guitar lines, one distorted and one clean, unfurl and cut through a fog of familar doppler shifts of engines forming the forlornly reflective 'Asphalt Mirror'. Eventually a refracting bass line emerges but is soon replaced by held keyboard drone chords. The guitar lines seem to get attenuated and flap ever more morosely in the breeze. The recurring engines seem to suggest a dwarfing, as if the music is being consumed by the city that it's soundtracking, and merging with it. A couple of tracks a are little more than short linking pieces, cars blurring past skeletal loop shadows. 'Stale Air on a City Morning' could be compared to Swim records benefactors Immersion, but where Immersion's 'Low Impact' was warm, Symptoms hum with an ominous and forlorn atmosphere. A momentum builds up gradually but the journey just seems to lead back to the place it started. 'Mute Noise of Longing' is a minimal ambient keyboard sequence, and the following 'Burning to be Gone' captures a similar mood with intertwined processed guitar lines ringing like windchimes. Slowly a piano melody plays out amongst the ever moving cars. Distortion levels rise as the coda plays out, and the pollution keeps on choking until it rips a 'Crack in the Sky' towards which wistful whistles rise. This album might only be 46 minutes long, but it could almost be a soundtrack to a stop motion film of a city over ten or twenty years, as buildings rise up and crumble and shift, changes that are barely perceptible from day to day. Sleevenotes: "When you understand how things are, you lose yourself quietly standing, fading into the quiet of all things dead."
 
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