Listening to Cities, one thing is obvious-these guys have done their homework when it comes to obscure punk rhythms and experimental overtones. Variations keeps that studiousness in check, but adds an even darker flair, courtesy of searing remixes by Ladytron, Daedelus, and Isan. Although every song retains Cities’ pop sensibility, Fog takes the cake with his charmingly hostile “Black Metal Mix,” turning the otherwise pensive “OOC” into satanic hellfire. Since Cities is yet to take the already bloated indie scene by the proverbial balls, a comp of this magnitude just showcases the band’s genuine potential.
Various Artists New York Noise Vol. 3: 1979-1984
The third installation in the New York Noise series showcases, well, the noisier side of early no wave. Unlike the first two volumes, this chaotic dive into the era displays the antithesis of structure via feedback and drum programming from experimental icons like Martin Rev, Ike Yard, and Ut. As on the first two collections, every artist chosen illuminates the touchstones from which modern genre-bending punks received their inspiration. As such, this look into the roots of post-everything music could easily act as a history lesson as well as a Brooklyn party favorite.
Various Artists A Raga For Peter Walker
After 37 long years, the legendary über-guitarist Pete Walker returns-this time with the mystique of Thurston Moore, Greg Davis, and Jack Rose in tow. Walker studied under Ravi Shankar and collaborated with Timothy Leary in organizing “celebrations,” and now his virtuosity reaches new levels, straying from his psych-folk past and entering into a neo-classical-psych-flamenco universe. This living homage to the master is particularly honored with Greg Davis’ heavily processed concrete ode “Truly We Dwell in Happiness.” Between the visions of a completely realized Walker and his all-star legion of admirers, this collection just may be the gateway to the next level of avant-guitar heaven.
Various Artists Radio Slave: Creature of the Nigh
Under his Radio Slave guise, Matt Edwards is the master of the remix. On Creature of the Night, the slave-keeper pulls out an Excalibur of post-disco hymns (most of which he reworked himself) that recall the 2 a.m. underground-a leap from his recent Kylie Minogue remixes. Edwards covers a lot of territory on this mixtape, with tracks from The Kills, Ricardo Villalobos, and an un-tampered version of Corey Hart’s “Sunglasses at Night.” While this mix is much more minimal than productions under his Rekid moniker, Edwards’ attention to simplicity goes just as far in his DJing as it does his futuristic compositions.
Various Artists Wired Ones
Over the past few years, a bustling, early-’90s female electro revival has emerged from the underground school of Peaches and Le Tigre. Wired Ones represents the most recent graduates from this once exclusive scene. Featuring a host of ironically sexual, aerobics-class hits from new schoolers like Scream Club, Dynasty Handbag, and Angie Reed, each retro jam reflects a certain electro-feminine experience of music. While it’s politically challenging, few tracks live up to the message. You can only hear so many lo-fi beats and allusions to Sparks and boobs before you start longing for the days of Peaches’ first record.
Various Artists Radio Slave: Creature of the Night
Under his Radio Slave guise, Matt Edwards is the master of the remix. On Creature of the Night, the slave-keeper pulls out an Excalibur of post-disco hymns (most of which he reworked himself) that recall the 2 a.m. underground-a leap from his recent Kylie Minogue remixes. Edwards covers a lot of territory on this mixtape, with tracks from The Kills, Ricardo Villalobos, and an un-tampered version of Corey Hart’s “Sunglasses at Night.” While this mix is much more minimal than productions under his Rekid moniker, Edwards’ attention to simplicity goes just as far in his DJing as it does his futuristic compositions.
Christopher Willits Surf Boundaries
Christopher Willits is one of the few producers that has conquered his machinery so well that, at any time, pop can become noise and noise can become harmony within a span of minutes. On Surf Boundaries, the guitar-processing master finds serene solace through chirping effect patches nestled between atmospheric tidal waves, bouncing from decadent swirls to chopped-up flutters. Aside from the subtle, epic instrumentation, it’s the presence of dual vocals of Willits and his ex-flame Latrice Barnett that really make this one of the year’s most prized emotive possessions.
Imitation Electric Piano Blow It Up, Burn It Down, Kick it ‘Til It Bleeds
Known for previous instrumental releases, post-rock-favoring Imitation Electric Piano undergoes a number of changes on their second LP: an expanded and shuffled lineup (including more overlap with Stereolab), the addition of singer Mary Hampton, and a stronger bent toward folk and acoustic guitars. Unfortunately, the vocals don’t always work. Hampton’s voice can be sweet, but often feels too airy and insubstantial. On the Simon and Garfunkel-sounding “For the Best,” the chorus is particularly lacking. On “Come Into Force,” the male and female vocals take a backseat to the electric guitar, and the track works better as a result.
Home Video No Certain Night or Morning
There’s a lonely and beautiful sweep to the debut long-player from New York-based duo Collin Ruffino and David Gross (a.k.a. Home Video). The two deftly combine new wave-style synths, wistful vocals, and understated rock rhythms. The result is often minimalist, like “Dialogue Box,” which layers beats and synths for almost a full minute before the vocals kick in. Whether leaning more toward electronic (like “Pidpunk,” with an opening synth line straight outta 1983) or rock (the opening “Sleep Sweet,” with drumming that drives the song without detracting from the haunting melody), it’s consistently excellent.
Various Artists Joey Negro: The Many Faces of Joey Negro
It’s not easy to sound frisky after nearly 15 years in the DJ business. But Joey Negro is no stranger to reinvention: Faces plucks from his various production monikers, each slightly refashioning his own old-school stylings. Akabu’s “I’m Not Afraid of the Future” pairs a strapping techno hook with Negro’s trademark vocals and exuberant house melodies, while Sunburst Band’s “Far Beyond” offers a study in shuffling rhythms and jazz-inflected piano keys. It’s Negro’s effortlessness that makes his tunes so inviting: in a few sweeping notes, the promise of a house beat on an early-morning dancefloor feels as fresh as ever.
