Dusted Reviews Artist: Multiplex Album: Mixt Label: Senton Review date: Apr. 28, 2003

16 Mixes Not Just For Cash

Just when every remix CD deserves to be trashed for its obvious aim to sell! sell! sell!, an album like this comes along and rids ears of any cynicism. Making an impression with their much-lauded Pinghaus Frequencies on the esteemed Toytronic label, Multiplex follow up by enlisting a group of diverse gearheads for a round of digital Tom Foolery.

While the IDM scene has followed other subgenres of electronic music by heavily relying on remixes to extend the lifespan and sales figures of an album or artist, this is not a typical onslaught of edits by Kid606, Aphex Twin or Autechre. Senton Recordings actually digs a bit deeper with contributions from lesser-known but still card carrying global hot shots associated with Lo, Ninja Tune, Morr, Mute, U-Cover and Rocket Girl. Though few on board stray from their respective comfort zones, the sped-up and slowed-down, cut-up and field-found re-imaginations of Multiplex’s sound yields an entire album of the highest quality material.

Not to be mistaken for a simple snap-crackle-pop collection, Mixt is a gathering of droned out static, third wave techno and yes, some glitchiness with acute confidence and skill. Taken from the analog electrosynthscapes of brothers Roland (no joke!) and Christian, there are enough winning rewirings in this bunch to challenge popular releases such as Hefty’s Immediate Action series or Morr Music’s Putting the Morr Back in Morrisey for the title of “damn that shit sounds fresh remixed.”

From the anxious tidal waves of Herrmann & Kleine to the wet crunches of Funckarma, Spark, Jackob Thiessen and Russia’s Eu, this album moves in perfect rhythm. The gorgeously haunting Isan, Mitchell Akiyam, Animals on Wheels and Fuxa should be guests on the Simpsons as Grandpa’s “Captain Bringdown and the Buzz Killers.” Monolake stamp on their signature hallow minimal techno. The always-impressive Phonem takes to the extreme with a sparse open-ended look at “the monitors.” Lackluster stays true to the synth wiggles on “Rock Robot” but updates the early ’80s vibe with blips and zips. The eagerness of Mr. Projectile’s shuffling post-rave sunrise opus stands out with undeniable melody and grace.

All tracks come together with an underlying warmness, dripping electricity in spite of their varied approaches. Fans of music as diverse as Class, Richie Hawtin or Pan American will find Mixt right on point. No single track is a throwaway as the brothers Dormon unveil a 77-minute reminder that revisiting the original isn’t just a way to make an extra buck; it can turn a song on its side and outpour something truly exceptional.

By Steph Salas

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