Don’t look now, but Max Allison is playing god.
How else can you explain what he’s doing on SD Biomix, his Orange Milk–y new tape under the Mukqs moniker for Orange Milk? He’s creating new worlds, that’s what. He’s using his hands, grasping the DNA of sound, and molding it into heretofore unheard (and admittedly unreplicable) aural organisms that awaken, acknowledge their existence, and go about whatever business it is they may happen to have during the time they’re given. He’s specifically taking cues from other likeminded deities such as toiret status, Koeosaeme, DJWWWW, and Foodman (love ALL those cats), which is why SD Biomix nestles so nicely into the loving arms of the Orange Milk catalog.
But this world is his.
In the beginning, Max created the “detailed synth arrangements” and “programmed drum machine patterns.” He looked at these creations and said, “This is alright, man.” Then, in a frenzy of creativity, he pitted the samples against the drum machines, his holy hand righteously and randomly activating the looper. The result is dizzying, an electric set of improvised chaos that bends to its own internal patterns before erupting into chaos again. Lifeforms thrive, lifeforms decay, and all the while Max oversees the action, inserting his presence into the elemental character, the very building blocks of his handiwork to influence, guide, or manipulate their trajectory. The result is a stunning, kinetic document, buzzing with life and pulsing with energy. He is omniscient in the midst/mix, and he surrounds himself in a cloud of his own constructs.
And then, on the seventh day, Max rested.
Well, not literally – I mean, it took him a good year and a half to put this all together. The “seventh day” thing just fit my narrative so nicely, but what the heck, we’ll assume he rested on evenings and weekends throughout the making of SD Biomix. You can’t be going all the time, even if you’re as prolific a musical entity as “Mukqs.”
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