The third record from these New York City-based free-form electronic experimentalists is deceptively set in motion with the breezy "Flux Summer" -- an upbeat piece that uncharacteristically features acoustic guitars and warm organs. The only hint of their usual modus operandi is the bit of digital percussion that drives the song's rhythmic loop. But immediately afterwards, Flux return to form by hacking and splicing bits of Latin pop cheese and random urban samples into the mega-collage of "Confessions of Gallery Owner." Over 15 minutes in length, "Confessions" is nearly an exercise in aural stamina, despite all the fun and intriguing filigree. "Ride Strong" also takes on the mantle of monotony, but in more of an indie rock vein. Fans who prefer their downtown noir vibe may prefer "She Made It Big in a Mexican Village" or "Many Rivers," which have suitably bleak Wendy Carlos cum Casio keyboard feel to them. But it's "After We Eat" which plays to the industrial tendencies that would eventually bring them into ex-Swans man Michael Gira's fold. Despite moments of willful musical dysfunction, this album sees Flux retaining its ability to playfully challenge listeners to find entry points to their material, while maintaining their levels of chaos and invention.
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