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Fondling electronic tones from their synthesisers, Swedish outfit Pluxus (pronounced Plook-suss) create pop naïf that sounds as if inspired by old skool computer games, cartoon themes and the buttons of mobile phone keypads. Although they now forge catchy synthesiser and drum machine creations, Pluxus have their origins in a lo-fi guitar outfit. After discovering synths in about 1997, Adam Kammerland (b. 27 February 1977, Stockholm, Sweden), Sebastian Tesch (b. 22 March 1977, Stockholm, Sweden) and Björn Carlberg (b. 30 July 1978, Stockholm, Sweden) began recording material in their Pluxemburg studio. Pluxus’ first release was the Music Inspired By The Architecture Of Kennedy International Airport cassette, which was followed by Fas 2 and Och Resan Fortsätter Här (Here The Journey Continues), by which time Anders Ekërt (b. 13 October 1976, Stockholm, Sweden) had been permanently added to the line-up. Although they frequently produce music that is cute, cheesy and saccharine, Pluxus occasionally resist the impulse to create such jolly, manic music. Rather, on tracks like ‘Molltolerans’ (from European Onion), they coalesce their electronic bleeps and bloops into more funereal music that is poignant and eerie. Pluxus are often perceived as retrogressive analogue fetishists, but they claim to like any gear, ‘analogue, digital, swimming or flying, which can produce a good sound’. Playing and recording live the group also claim to resist rigidity in their music, incorporating small errors into their sound. Eschewing the deliberate artiness of much electronica, Pluxus seem to apply a playground mentality to the creation of their music. Live reviews have reported almost farcical levels of falling over on stage. Intriguingly, they also distance themselves from the Swedish dance music scene, which they judge to be ‘too much DJs and obscure record collections.’