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Mylo

by Philip Brasor

Electronic dance musicians, especially those who work alone or in pairs, usually become distinctive by design, honing a certain habitual mood (Daft Punk’s kiddie disco; The Orb’s creepy sensuality) into a trademark sound.

Myles MacInnes, better known as Mylo, has no distinctive sound that you can describe in one neat sentence. On one single he’ll experiment with soundtrack manipulations; on the next he’ll concoct the perfect Miami party song; and on yet another present deep-dish, chill-out grooves. His reputation as a genre-raiding chameleon hasn’t hurt him in the least. People who dig this sort of music look forward to each new chapter, and his remix skills have been purchased by the likes of The Killers, Scissor Sisters, and even Moby.

His one true album, “Destroy Rock & Roll,” gathers these diverse ideas under a homogenizing discipline that’s warmer and fuzzier than the singles and EPs. It’s a smoother ride from track to track, and funnier, too, utilizing familiar Top 40 samples as a kind of ironic comment on the beats he’s conjuring out of the ether. The high point is “In My Arms,” a mashup of Kim Carnes’ “Bette Davis Eyes” and Boy Meets Girl’s “Waiting for a Star to Fall” that exaggerates the trite dramatics of both songs for maximum comic effect. Mylo’s habit is humor.