Strangely enough, however, this album was the last project for Kraftwerk before they fully turned into a legacy act for the next twelve years, with almost no new original music released, but a lot of tours and live-appearances. I find that the original strikes a better balance of energy, but this is still an enjoyable variation.

Hütter stated in interviews that he regarded The Mix as a type of live album, as it captured the results of the band's continual digital improvisations in their Kling Klang studio. citation needed] Ralf Hütter said in interviews that he regarded The Mix as a type of "live" album, as it captured the results of the band's continual digital improvisations in their Kling Klang studio. The prolonged production period for the album led band members Wolfgang Flür and, later, Bartos to leave the group, before its release. The intro and other sound effects are redone to match up with the beat, which is another welcome change.I was pleased to find that, although the extended remixes smack more of the early 90s period (with all the acid synth bass and drum machine blip-blops one might expect) in which they were created rather than the 70s era which people tend to remember them for, the tunes I remembered still survived fairly intact and the CD fulfilled its purpose of making me want to hear more, if in the music's original form next time. While that does sound like a side-project on paper, Kraftwerk very much treated this album like a mainline event, making the promo sound like it was a completely new original album and touring it like every other project as well. It was released on 11 June 1991 by Kling Klang and EMI in Europe and by Elektra Records in North America. The left channel is the inner flank of the groove, that's why the needle jumps backwards and the same section is repeated over and over again.

Abrantes, while uncredited in the liner notes, appeared in the artwork and other promotional material. It has entirely re-arranged and re-recorded versions of a selection of songs which had originally appeared on Kraftwerk's albums Autobahn (1974) to Electric Café (1986). After the level change in one channel, the bass is not in the stereo centre anymore and this can kick the needle "over the edge" because it gets more pressure from one side than the other. Tom Ewing of Pitchfork cited the new versions of " Autobahn" and " Radioactivity" as highlights, adding that, "unlike most mix albums of the period this one had a purpose: these more physical and propulsive versions have fed into Kraftwerk's live set ever since".

A newly remastered edition of the album was released by EMI Records, Mute Records and Astralwerks Records on CD, digital download and heavyweight vinyl in October–November 2009. Despite no new, original recorded material or live tours outside of Europe, Ralf Hütter didn't want Kraftwerk to appear defunct to the public.