The Fundacion NYC mix exhibits what Sasha is doing live these days with the help of his custom-made Maven (a MIDI controller that allows for digital re-editing and remixing live), Ableton software and an Apple G5 laptop. Just as he did for his Involver record in June 2004, where he digitally re-worked some of his faves in the studio and without vinyl, Sasha’s disregarded turntables entirely for this mix (themed after his monthly outings at New York City’s Crobar and Los Angeles’s Avalon). But the technical end really isn’t at the center of the Fundacion mix. Sure, the point is what he’s done here digitally and non-traditionally, but the masterfully blended setlist, the final product, is what most enthusiasts will pay attention to.
Born Alexander Coe in North Wales, Sasha gained his credibility with the much-discussed residencies at Shelly’s and then at Renaissance, where he met John Digweed, became half of the partnership force that became the Northern Exposure, and helped mix The Mix Collection, the first deejay comp to go gold in the United Kingdom. Sasha’s Fundacion residencies in New York and Los Angeles have allowed him to grow comfortable mixing live sets without turntables, dazzling bystanders with improvised sets built entirely around his edits of songs from his hard drive. Some of us can barely maintain more than one list in iTunes.
The fifth track, the Stel remix of Kosmas Epsilon’s “Innocent Thoughts,” differs considerably from the eighth, “99 & A Half” from Phonique and Alexander East, and Sasha covers what seems miles of middle ground here by splicing in minute-long snippets of Funk D’Void’s “All That Matters” and Closer Musik’s “One, Two, Three.” Along with the agreeable Superpitcher remix of M83’s “Don’t Save Us From the Flames” that closes the album, another moment of sonic glory occurs at the mix’s gorgeous crescendo, when the “club” and “last version” mixes of Holden & Thompson’s stunning “Come to Me” persistently surge and retract in stuttering and seemingly sexual atmospherics. Here, Sasha’s expertise in managing the dance floor is again blatantly evident.