P . L . X . T . X - Selective Mutism

P.L.X.T.X

Selective Mutism
self-released; 2013

3.8 out of 5

By Ted Rogen

Bradley Munoz is the brainchild behind P.L.X.T.X (pronounced “Pluto”) which creates disharmonious, ear-splitting sounds that come in the form of white noise, lead synths, various bleeps and blips that are often backed by industrial hard hitting beats that are unlike something you might hear from KMFDM on his latest releases entitled Selective Mutism. Munoz sings and yells quite aggressively over the already aggressive onslaught of sounds. His voice is often distorted adding more energy to the already kinetic music.

In addition to the hard-hitting songs, he also has a number of tracks that contain no percussive elements at all. For example, the second track “Target Locked” sounds like what a very busy extraterrestrial airport might sound like. Honestly, it sounds exactly like alien spacecraft are taking off and landing at an inter-universal space hub. “P.L.X.T.X ▲WOLFBUSH – WAR” is one of the more substantial tracks of the album which had elements of Primal Scream’s XTRMNTR as well as some of the harder hitting tracks for Venetian Snares. There are also a couple of short super segments that last a little more than a minute that each has their own unique flavor.  For instance, “Whiteout” which is one of the hardest songs on the album or “Fireflies” which is blur of vocals and dissonant synths that sound like pure confusion. The cyber punk “Casket” is a gritty, visceral song that makes aggression sound doable in the digital domain as Munoz creates chaotic, often disorienting beats, surrounded by buzz saws and jet engines. “Day I Die” tips its hat to classic industrial bands as well as Atari teenage riot as the steady kick, repetitive lyrics and white noise create an immersive experience that will leave most by the wayside who cannot get on board.

Perhaps the most baffling part of the album was the way Munoz decided to end it. It closes with the title track “Selective Mutism” which is the longest track on the album clocking in at 7:25 seconds. I was hoping Munoz would end the album with his strengths – his knack for creating heavy beats that are inflicted with turbulent noises. But instead he chose to go the experimental route and devote most of the seven minutes to manipulating vocal samples. For the most part this album is Digital Hardcore and will either have people heading for the doorway or completely absorbed. Overall this album, while a bit self-indulgent at times, offers an often original, unique listening experience that proves you don’t need a guitar and live instruments to create something that feels emotionally fueled and aggressive.

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