Those still having Steven Jesse Bernstein flashbacks are dutifully hiding any mix with my name on it from their parents. Those unfamiliar will just have to sate their need to know with this mostly wordless mix of recent releases.

No Need To Speak

Fuck Buttons – This somewhat slow building battle of electronic and electric style should not be construed as a sign of coherence for the rest of the disc, which explores a less regimented definition of tempo and clarity.

Rickard Jäverling – Those fond of the delicate Kozelek style guitar on display here will be pleased to learn that vocals do accompany more than half the tracks on this disc, I just settled for one that recalls Cabezon more than Summer Dress.

King Kong Ding Dong – Discs that arrive in screen-printed cardboard packaging usually suggest lo-fi indiepop or abrasive experiments, this one tries to find its niche in both courts but settles in with Slint style drumming (and geetars) with plenty of humming.

Boys Noize – Music for car commercials. Somehow it feels like a brawnier more brainless version of Justice, or basically it’s like comparing G.I. Joe to Transformers 2 – one of ‘em has to be better and you shouldn't try to compare them in the first place.

Emptyset – Those in the audience familiar with the painfully rhythmic Pan Sonic may find some familiarity exists in the works of Emptyset, though this composition is nowhere near as sparse as the namedrop suggests.

Sleep Whale – Don’t kill the whale, but for heaven’s sake do let it rest a bit. Another wordless one from an album that does have vocals and lyrics, even if they’re buried under several layers of reverb. Here comes that skyward explosions feeling again … all drums and string(s) and such.

Lusine – Finally a relatively normal electronic track, one worthy of a late night train trip or soundtrack for an airport. Well, an airport moving sidewalk perhaps, as the chaos that follows a last-minute gate change never does quite show up here.

Charly Antolini’s Power Dozen – It’s difficult to tell the hopelessly retro from the honestly retro these days, what with advances in art direction and recording studios and their ability to recreate the path with more than faux authenticity. I believe this is the real thing though … I think?