Underground club producers Perdido Key transcend house music, varying into many upbeat dimensions that lug dark tones beneath the surface. Their latest EP, Lost is Found, is a lucid dream, pulling us into a labyrinth of psychedelic compounds and synthetic bass lines. Lost is Found journeys through its five tracks like a person entering a new room every few minutes at a dingy house party.
The title track starts by immediately lulling you into an opening scene of a cinematic warehouse venue. You can almost feel the passing slimy shoulder of a trance dancer. Four-on-the-floor rhythm provides a steady, uniform beat that emphasizes its deep house origins. With dreamy, light vocals layered on top, this is a flawless contrast of harshness and lovely ambiance. It has an Odesza feel initially, but the jacking rhythm quickly cuts through the fogginess. The ending gets mistier, trailing behind us distantly, echoed. You soon realize this track, and the whole EP, is an obscure and perplexing take on electronica.
Quick, even tempo is carried over into “I’m Free,” which exhales a spellbinding river of sharp, varied, static sounds complemented by deep vocals that dip in tone. The build-up halfway through the song sucks up the griminess with a laser-beam zap, and then drops down a series of clanking sounds, like banging on dull kitchenware.
“Rat Acid” is a peak time Techno cut that hops, soars and pops. It sounds like a recording of an arcade game’s inner-workings with its all-over-the-place bounciness and Pac-Man-like bits.
Earl Grey numbs “Lost is Found” into something heavy and sublime that somehow still maintains an elegant loftiness. This may be due to the angelic whispering that at first tries to seep through unnoticed. It has a SBTRKT dankness to it. The William Earl remix of “I’m Free” belongs in an action thriller. Its drawn-out layers build suspense and keep us wanting more, epitomizing Perdido Key’s hypnotizing prowess.
Perdido Key’s eccentric take on techno is dense, frenetic and lively. This NYC duo has captured their city’s grungy energy in Lost is Found through entrancing left-field house and the familiar scents of a sweaty, pulsating basement. —Rachel Haney
Here’s a batch of MP3s that I have been long remiss in posting. Also, happy Good Friday to you.
On the Fly
1. “A Warning of Sorts” – CHIRPING. Are we ever done with slick, well-produced, cheery indie-rock from Swedes? No, never. Put on your dancing shoes.
2. “Number One” – The Sideshow Tragedy. Did The Black Keys ever sound sinister? The Sideshow Tragedy has honed the blues-rock guitar/drums duo to a fine point here, packing in energy, melodies, dynamics, and (yes) even some sinister vocal vibes. Whoever can’t get behind a good tambourine needs to get this tune in front of them.
3. “Retro Bastard (KKBB Remix)” – Blood Sport. Kasey Keller Big Band turns out a remix of a song I’ve never heard, resulting in a complex pastiche of zooming digital sounds, heavy bass lines, complex drumming, and hollered vocals. Somehow, it turns into a herky-jerky dance tune, the sort of thing that mid-to-late ’00s dance-rock bands would have jonesed after. Intricate yet danceable, Artsy yet poppy? Turn that up.
4. “Sovereign Gore” – Casual Threats. Jamming post-hardcore’s dissonant aggression, post-punk’s wiry experimentation, and Interpol-esque dour melodies into one track is a tall order, but Casual Threats pull it off with confident aplomb.
5. “Unknown” – Lylit. If you have a way with a “whoa-oh,” you’re going to do well in today’s pop scene. Having an infectious groove that rides the line between dramatic and decidedly happy helps too.
6. “Lost is Found” – Perdido Key. In an age of no-nuance EDM, it’s refreshing to hear a club-ready tune with some atmosphere and restraint. It’s no surprise that it hearkens back to the ’90s–but not too much–to get that feel.
7. “Caves” – Sea Bed. Bouncy, rubbery keys give this dance tune a cool underwater feel, in addition to the boots’n’cats techno beat. (What up ’90s! Two in a row!) The vocal melody is infectious as well. This is way cool.
8. “He’s Heating Up” – Homeshake. So, this comes from an album that’s celebrating ’90s NBA basketball, which is a fantastic idea. Homeshake’s homage sounds like some unique alternate-universe version of Prince: feathery falsetto, vaguely funky mood, and affected sense of drama.
9. “Time For a New School of Alchemy” – ticktock. Glitchy electro had an idiosyncratic sort of beauty to it. This track harnesses bleeps, burbles, and chopped up sounds in the service of traditionally beautiful work that falls somewhere between ’80s synth-pop and modern bedroom chillwave.
10. “Mother of Maladies” – Marrow. I don’t know what it is about keyboards that can ground a funky song so well, but the wurlitzer gives this churning, whirling indie-rock piece a bit of solidity.
11. “Great Divide” – Humming House. Having great “whoa-ohs” helps in folk-pop too, as Humming House knows. Vocals reminiscent of The Avetts’ power this energetic, enthusiastic gem.
12. “When I Rise” – Diamondwolf. Percussion is real important in alt-country, and the stomp-clap drumming makes the mood here. The zinging pedal steel and heavy acoustic strum help too, making this into a powerful stomper of a tune.
13. “Ghost Town (Acoustic)” – Justin Klump. Klump’s voice has some of the trembling passion of Needtobreathe’s Bear Rinehart, but it’s set in a poignant, sentimental acoustic pop arrangement featuring cello and gentle banjo.
14. “Strong” – The Paper Shades. In the midst of this hurried and harried world, we need gentle singer/songwriter duos to tell us to “slow it down.” Unspool your stresses and let the gorgeous waves break kindly over you. Here’s to those who are still carrying the torch of calm.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.