emix collections rarely satisfy fully, usually falling into a no man’s land which fans of the original artists have little interest in exploring. But, when original material is hard to come by from said artist, it’s sometimes the easiest way to keep their name in the spotlight. As such, the recent rekindling of interest in Throbbing Gristle has led Mute to release Mutant TG—ostensibly a completely unnecessary release. But, if there ever was a more appropriate band for this sort of project, Throbbing Gristle—so interested in deconstruction (musical, cultural and societal)—is it.

The focus of Throbbing Gristle, initially, is always the enigmatic and shamanic self exiled P-Orridge. Seemingly part of the righteous agenda to rightfully reposition and solidify the band as an influential force in the development of electronic music (á la Can), Mutant TG makes the persuasive case that much of what made Throbbing Gristle worthwhile was the pioneering work of the less talkative Chris Carter and Sleazy. Leading from the sides, it was their DiY approach to programmed rhythms and tape experiments that created the basis and legacy of the band.

This is not the first time a remix album has been used in an attempt to reposition a band (see Melon which helped to commercialise U2’s stylistic shift) from their accepted musical context, but a collection of the originals would’ve stated the case much more strongly. Considering TG’s foremost reputation as Industrial music pioneers (they were this, and so much more) this collection could’ve ended up going right down the shitter with Skinny Puppy, Front 242 and Chris Connolly on the mixing board, thankfully it hasn’t.

Motor, for example, turn “Persuasion” into a glitchy hum of deteriorating electrical appliances retaining bites of P-Orridge’s unmistakable slithery vocal amongst the dark, Geiger static and grinding slabs of nasty noise. Hedonastik’s “What a Day” remix takes the demented original and loop a snatch of P-Orridge’s ugly rant (possibly “Turn it up!” but its difficult to make it out amid the noise) over dub bass layering it with morphing, flexing hissy percussion. Only the Simon Ratcliffe (Basement Jaxx) remix of “Hot on the Heels of Love” seems set to let in chinks of daylight/starlight with the warm analogue waves of his dancefloor orientated trip through rainforest thunder and bird calls.

Carl Craig, never content to rest on his reputation as techno pioneer, continues to experiment successfully with a barrage of electronic styles; his two offerings here bearing no resemblance to each other. His “Hot on the Heels of Love” mix is simplistic, stripped and almost Kraftwerkian, while his ‘re-version’ of “Still Walking” is a programmed warping looping percussive moody slice of shifting metallics and hitches.

Two Lone Swordsmen’s “United” (which is briefly discussed here) is faithful to the original, as are Carter Tutti’s (original TG members Chris and Cosey’s newly titled project) pair of mixes. Being old hands at remixing themselves, having worked with TG rhythms on their Electronic Ambient Remixes series, it might’ve been better to let someone else interpret the songs.

Is it a success, then? These mixes easily stand alone as a collection of strong electronica, but the originals remain more innovative, daring and esoteric. Almost thirty years on, Throbbing Gristle don’t really need remixes to show what a significant and diverse act they are. Buy this and the originals.