Mux Mool didn’t set out to throw critics into a head-scratching tizzy—he just makes what sounds right. Jagged broken beats slip-slide across circuit-bent, pitch-shifted synths in a dystopian wasteland of 90’s nostalgia. The Mux Mool arsenal is a moody collection of instrumental dynamism vacillating between the serious and the silly.
Cutting his teeth on compilations for Moodgadget and Ghostly International, Lindgren found his audience amongst the neo-nerd ne’er-do-wells raised on junk food, taurine, and Adult Swim bumps. In a country steeped in pop and technology, a music geek with computer knowhow and cheap keyboards smashed the gatekeeper model with sonic sketches that went viral. His early work slipped onto “best of” lists in the mid-2000’s alongside fellow Swim alum Flying Lotus. Two Drum EPs and two full-lengths (2010’s Skulltaste and 2012’s Planet High School) cemented his Ghostly standing among the crate-digging elitists of the hip-hop world, but the nascent bass music movement latched onto the nomadic beatsmith, aligning him with the wonkier, brainier echelon of producers.
Brian Lindgren has been on the move from the beginning, hitting classy corners of happening neighborhoods, from Minneapolis to Brooklyn to Ann Arbor—dipping his toe into each burgeoning metro area, and soaking in the creativity that emanates from a scene on the rise. Relocating to Denver, Colorado, the epicenter of all things electronic, Lindgren is hitting his stride in time with the city that now more than ever towers above the landscape of the entire industry.
Now exposed to a vastly different audience of post-adolescent sub addicts, Lindgren didn’t tune in, turn off, and sell out; rather, the cerebral subsonic alignment of his body of work put him right in the crosshairs of tastemakers who heard whispers of his name all along. The kids just get it. The Mux Mool catalog is a hand-me-down from the older brothers of the scene, outlining where we are and where we’re going.