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Los Angeles-area
Abe Vigoda
Michael Vidal and Juan Velazquez
attempted an unlikely marriage of new wave and Caribbean music on
Kid City (2007), whose songs freely employed calypso, noise and
punk fervor (All Night and Day).
They refined the idea on
Skeleton (PPM, 2008), a short collection of robust but unstable
songs that specialize
in limping vaudeville-esque rigmaroles
(Dead City/Waste Wilderness),
in sloppy anthems that deliberately lack both focus and method (Bear Face),
in angular rhythms and disjointed harmonies (Lantern Lights,
and especially World Heart),
in convoluted structures that hark back to the age of Polvo's
noise-rock (Cranes),
in hopelessly out-of-tune lullabies (Endless Sleeper, the "melodic"
zenith of the album) and
in spastic square dances (Live Long, Hyacinth Grrls, Animal Ghosts).
There is even time for an acid instrumental (Visi Rings), that could
be the archetype for an album of its own.
There is little, however, that has not been done before, and the songs tend
to be too short to constitute more than a passing amusement ride.
The EP Reviver (Post Present Medium, 2009) toned down the ebullience
quite a bit.
Crush (2011), featuring electronic wizard Michael Chadwick, steered
90 degrees towards the new wave of the 1970s, leaving behind the Caribbean
element but keeping the element of (occasionally chaotic) surprise.
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