Putting on an El Ten Eleven record requires a certain suspension of disbelief. The songs start off simple, and then as the tones begin to layer and the sound becomes more complex, the soundscape more interesting, sometimes it begs the question — how can two guys create a style this deep? El Ten Eleven’s Kristian Dunn and drummer Tim Fogarty, based in Los Angeles, have been weaving together cathartic, genre defying records as El Ten Eleven (and touring prolifically) since they joined forces in 2002.

Their hypnotic, catchy melodies, emphatic percussion, and deft use of electronic and acoustic elements together have helped El Ten Eleven carve out a particularly atmospheric and emotional section of the post-rock landscape for themselves. Their latest release is a remix of their 2012 record Transitions, offering treatments by Com Truise, Steed Lord, Three Winters, and more. They’ll be performing at the Sinclair in Cambridge on September 13th. I was able to connect up with Dunn to ask him a few things:

How did El Ten Eleven first happen?

We were in a fight club together and always seemed to enjoy talking about music more than punching each other so we decided to start a band.

You’ve been playing together as El Ten Eleven since 2002. How do you think the music world has changed, and do you think that’s changed the way you operate as musicians?

This is probably the best time in history to be a musician.  We can make, market and distribute records ourselves.  There’s no need for labels anymore, except for the marketing and brand recognition some of them can provide.

Your sound has been compared with Americana bands like Calexico, as well as “atmospheric” and “electronica” under the larger umbrella of post-rock. That’s a lot of genres! Would you agree with any of those labels, and why? Where do you see yourself fitting into the musical landscape?

Not at all.  One journalist put “Calexico” in a review very early on and lazy journalists have just been copying and pasting ever since.  I mean, Americana?  Us?  Have you listened to our records?

We do have some atmospheric and electronic elements so those are more accurate.  We don’t really fit neatly in any one category, I don’t think.  Well, other than “instrumental.”

How did you approach your latest album? Do you think you reached your ideal sound?

Our latest album is a remix record of our previous effort, “Transtitions,” so it’s completely different from anything we’ve ever done.  The remixes that were turned in were all quite good, we thought, so we are very happy.

You tour quite frequently! What does performing your music live do for you?

Makes us artistically satisfied (if it’s a good show) and makes us money.

It’s always surprising that you accomplish such a rich sound with only two performers. What makes that collaboration work so well?

Well, we don’t have very many instruments but I think the collaboration works well because the two of us click.  It’s like any other relationship in life.  We’re just really lucky we get along so well.

What’s your fondest tour/show memory?

There are too many to pick just one but every time we have a sold out show, that is huge for me.  We’ve worked for so hard and for so long it’s a really satisfying feeling.

Peter Hook telling me he loved our band was certainly an amazing moment!

What’s next for El Ten Eleven? What would you like to change, and what are the important roots that you always want to stick to?

I really wouldn’t change anything.  I think we’ve grown nicely over the years.  You can hear the development if you listen to our records. I just want that to continue.  I never want us to repeat ourselves.

You’re throwing a theme party and you can invite whoever you want, dead or alive, imaginary or factual. What’s the theme, who’s invited, and who’s the first to pass out?

Jesus Christ and Mohammad.  I wanna see them debate who the real prophet is.  And make sure they understand how much horror they’ve caused for humans.