“It’s useless to try and bullshit you into believing that the stylized no-wave of Glass Candy’s 2003 debut, Love Love Love, has anything more than a perfunctory effect on the band’s current sound, but B/E/A/T/B/O/X does suggest a carryover of certain values: a terse, unflinching attitude and an economy of arrangement, if not track length. Like Alison Goldfrapp, Ida No retains an empowering lack of self-consciousness even as she deploys the tact and patience of a pop singer. Jewel, meanwhile, places No’s instincts in measured relief; tracks boil over with bass sequencers and 4/4 kicks. One stray synth is permitted a melody line, and the ratio of treble to bass is inverted only occasionally. No isn’t sexless or prude, though the echo on her voice suggests that you need not apply. Her star is born through physical inaccessibility and the fact that she’s better friends with the DJ than you; it’s enough.”

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