Reviews about P.L.X.T.X

If your "music" absolutely must have melodies and sweetly-sung vocals and nice, clean production, well, you're going to want to stay far, far the fuck away from P.L.X.T.X - SPACE CITY ROCK Aug. 23rd 2012 http://www.spacecityrock.com/2012/08/23/p-l-x-t-x-time/


P.L.X.T.X, prononcé « Pluto » est le projet solo d’un des mecs de Female Demand, un groupe de Punk-noise-psyché de Houston. Et ce type a du dégoût et de la rage à revendre mais un profond amour pour la musique dissonante. Ses petites bombes au napalm brûlent de ce feu ardent cher aux compositions abrasives de Venetian Snares à Aphex Twin (période Come to daddy) jusqu’à Atari teenage riot. On est proche de la furie sonore du crew d'Alec Empire, des breakbeats drum’n’bass écrasants comme des grondements d’explosions entrecoupés de grésillements et de larsens hypra-stridents. - lafaustsceptique.blogspot.fr - sept. 9th 2012 http://lafaustsceptique.blogspot.fr/2012/09/plxtx-time-ep-autoproduction-2012.html


The Rocks Off 100: Bradley Munoz, P.L.X.T.X.'s Noise Acolyte  - dec. 27th, 2012
http://blogs.houstonpress.com/rocks/2012/12/bradley_munoz.php



Bradley Munoz wanted to name a band  Pluto . Trouble is, lots of bands are already named Pluto. So in order to make it stand out in Google searches, he just punched the vowels in the dick and replaced them with Xs. There's something so amazingly pragmatic and completely backwards about that logic that is just beautiful. Houston's top 10 bands names - march. 03, 2013
http://blogs.houstonpress.com/rocks/2013/03/10_best_band_names_in_houston.php?page=2



“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.” - 06/13/2013

Ted Rogen - the equal grounds


“P.L.X.T.X. is a timely rebuttal to the overly-populist uses of electronic sounds, by so many new and mainstream artists. Carefully marketed dub$tep and electro-pop acts have hi-jacked the instrumentation of innovative artists like Aphex Twin and Squarepusher and made them tame: Almost too approachable. With the waning but for now still-formidable influence of the Night Culture crowd, there is a huge gap in the market of glitchy, experimental, electronic music, and Muñoz is a good contender. As technology continues to push all live performances toward the less-live (more electronic) side of the spectrum, there’s a desperate need for live electronic acts that bend and break rules, rather than just twist and turn knobs.” - 05/31/2013

Jack Daniel Bets - Free Press Houston


“Après avoir rayé pas mal de tympans avec du breakcore noise ultra fast, Bradley Münoz s’est affairé à produire des morceaux proches d’une veine gabber hollandaise et technocore. Heureusement on ne parlera pas ici de jumpstyle, ni de pilules smileys, ni d’electro-thrash-kéké-tuning mais bien d’electro-noise-expérimentale.” - June 21, 2013

La Faust Sceptique


In a post-dubstep world, where most celebrities are EDM DJs (as long as the money's good), the new Justin Bieber single has fake James Blake production (what doesn't?), and so much new electronic music sounds like it was designed to be heard in a shopping mall (it was), it's refreshing to hear a new batch of Houston artists making electronic music that would terrify any teenage punk's parents. P.L.X.T.X. (pronounced "Pluto") has been producing and performing in Houston since April of 2012.  Not unlike B L A C K I E, The Wiggins, or FLCN FCKR, P.L.X.T.X. is a one man operation started by Chilean American Bradley Munoz. The music of P.L.X.T.X. immediately reminds me of Atari Teenage Riot, blending techno and hardcore punk. The production here is interesting and at times even shrill, so it seems clear that the dance floor is the last thing on Munoz mind when he's working on material.  With sounds that feel like buzzing insects flying in and out of focus, knives being sharpened (or stabbed) and hypnotic drum'n'bass rhythms we're definitely getting into dark territory with these recordings. While being abrasive and over all hypnotic, there's also a clear voice to the music. With emotive outbursts from Munoz that honestly remind me of BARR or early Xiu Xiu, there's a sense of vulnerability and honesty here that is rewarding.  Bringing his own PA system and lighting rig to his performances, hand packaging his CDs, and being completely functional as a one man operation, P.L.X.T.X. has proven to be an important part of the new H-Town underground. 
Jan 1st, 2014 --

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