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Rex the Dog

Rex your dog is in charge of a few of the most infectious and exuberant ’80s-inspired electro home singles in ten years chock-full of these. Before veteran manufacturer Jake Williams (aka JX) stepped forwards to officially confirm rumours of his participation, the mystery encircling Rex the Dog’s identification garnered a good quantity of interest in digital circles — nonetheless it under no circumstances overshadowed the music itself, using its recognizable, impressively long lasting template of basic, durable midtempo beats, buoyant burbling bass, and melodic but continuously mutating portamento synth riffs (and sometimes vocals) flanged and filtered into delirium. Williams have scored multiple mainstream home hits (including many best 20 U.K. singles) through the entire ’90s beneath the monikers JX, Mekka, and Oblik, so when an associate of Globe Perfecto, but sometime following the switch of the millennium he struck out in a much less overtly commercial path, implementing the Rex your dog alias in mention of 1950s DC Comics personality Rex the sweetness Dog. He monitored down a Korg 700S synthesizer built-in 1974 (the entire year of Williams’ delivery), after learning that it turned out applied to the Normal’s “Warm Leatherette” and Depeche Mode’s Speak & Spell record, and utilized it almost solely to generate the paths for the very first two Rex 12″s, Prototype and Regularity, which made an appearance on Kompakt in 2004. Both these releases proved hugely favored by DJs and compilers, as do the Rex remix from the Knife’s “Heartbeats,” but follow-up materials was relatively gradual to materialize — “Maximize” implemented in 2006; “Circulate” in 2007 on Kitsuné. In the meantime, he created remixes for Customer, the Prodigy, the Noises, Soulwax, Röyksopp, Mylo, and his heroes Depeche Setting, in addition to another for the Blade and Robyn’s “Who’s That Female” (that was made by the Blade). The full-length debut The Rex your dog Show, which put together shortened versions from the four 12″ A-sides (as well as the majestic B-side “I Consider Mid-Air”) alongside two remixes and six fresh pop-oriented productions, wasn’t released until Sept of 2008, where time the sooner tracks might have lost a few of their novelty, however, not their irrepressible joyfulness. Almost as endearing because the neon nostalgia from the music may be the toon artwork presented in Rex the Dog’s record addresses, videos, site, and live visuals, all attracted by Williams, which depict him together with his doggie (he habitually identifies Rex your dog as “we”) involved in all types of ordinary and remarkable exploits.

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