Although September finally saw the release of his debut LP, London producer Rex the Dog is far from a fresh face on the electronic music scene. In the past five years, Rex (real name Jake Williams), has released 12’’s on trendsetting labels Kitsuné and Kompakt, remixed tracks for the likes of Depeche Mode and The Prodigy, and earned an ever-expanding following thanks to his quirky live electro-tech performances at clubs and festivals worldwide. The Rex The Dog Show is unabashedly nostalgic, reminiscent of the synth-pop of the 1980s (think Jan Hammer or Giorgio Moroder), attributable in no small part to Rex’s penchant for using vintage analogue synthesisers from the era. The opening track Maximize 2008 is a fine example of the type of irresistibly infectious, raved-up stompers that litter Rex’s back catalogue, as is the ear-meltingly good Frequency.

The album also features Rex’s earliest, and probably best-known remix, the Knife’s dysphoric anthem Heartbeats (also covered to great acclaim by José Gonzalez). The other remix on offer is of the Sounds’ Tony the Beat, an addictive pop-crossover that has received the disco treatment. Also included is his first single, Prototype, all rolling basslines, handclaps and bleepy synths, which is still as disarmingly catchy today as it was when it was originally released in 2004.

Unfortunately, long-term fans will doubtlessly be irked by the fact that so much of the CD isn’t exactly new per se. Of the 13 songs, eight have already been released on vinyl, particularly disappointing given his less-than-prolific output and the fact that the album had already been delayed for over a year. Although some songs have been re-edited or shortened in length, critics will point out that The Rex The Dog Show is more of an anthology of singles and remixes than it is a new album.

Nonetheless, this is a quality release. New material such as the current single I Can See You, Can You See Me? and the plaintive Heartsong showcase Williams’ vocals and sit comfortably alongside his earlier dancefloor-oriented singles. The album manages to deftly juxtapose euphoria and melancholy whilst maintaining coherency, exemplified in the exceptional closing track I Look Into Mid Air. We can only hope that Rex doesn’t make us wait another 30 dog years for the next LP!