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I think beat-making is really the study of every kind of music, says Brian Lindgren, the artist known as Mux Mool, Anyone who makes beats should be experimenting in other genres. On SKULLTASTE, Lindgrens full-length debut on Ghostly International, the producer was determined to explore every corner of his beat-steeped psyche, and the resulting document is a masterpiece of eclectic cohesion: chunky instrumental hip-hop sits next to new-wave anthems and dubby dancefloor bangers, which abut skittery slices of DnB and made-up video-game soundtracks. SKULLTASTE may be cover a lot of ground, but Mux Mool pulls it off. He even makes it look easy.

SKULLTASTE is an old-fashioned epic, and its diversityboth track-to-track and within the songs themselvesis hard to measure. Lindgrens taste roams all over the map, but its this attention-deficient approach that makes SKULLTASTE such a smorgasbord of an album, tempting the listener with one tidbit after another. Opener The Ballad of Gloria Featherbottom hits a quintessential balance between giddily spiraling samples cooled by monstrous slabs of ice-water synth; later, Get Better John has a teary-eyed uplift, conjuring a mood somewhere between 90s R&B and the Chrono Trigger soundtrack; and the entertainingly titled SFW Porn pairs a boom-clap beat to clear-blue keys and a lazily scribbled guitar line. On SKULLTASTE, Mux Mool tirelessly doles out 20 tracks in 80 minutes, with not a moment of filler.

Lindgrens stylistic blast zone is so wide, that one might think he was pandering, trying to be all things to all people. One close listen, though, and it becomes clear that the world of Mux Mool is just that expansive, a reflection of Lindgrens many-splendored passionsthe fact that SKULLTASTE genuinely has something for everyone is just a happy coincidence.