Enon

On "Hocus-Pocus," the only syrup-slow ballad on Enon's album of the same name, vocalist John Schmersal exhales a bizarre bit of sensual imagery -- namely, "drunk on the candy of you," an apt, if confusing, aphorism. Like the NYC trio's previous effort, High Society, this LP offers a disconcerting assortment of genres that baffles the taste buds but ultimately proves to be an appetizing introduction to Enon's sweet intoxication.

Details

Gogogo Airheart and Irving open

Saturday, Oct. 4, at 9 p.m.

Tickets are $10

861-5016

www. cafedunord.com

Cafe Du Nord, 2170 Market (at Sanchez), S.F.

Related Content

• The New Pornographers, Feat. Neko Case, Serve Crisp Pop at Regency Ballroom
  April 19, 2011
• The New Pornographers and the Dodos at the Fox Theater
  July 19, 2010
• Christopher O'Riley and Matt Haimovitz: Show Preview
  January 4, 2012
• The New Pornographers are Satanists: Eight Songs That Prove It
  September 15, 2010
• Indie on Top: Noise Pop Celebrates 20 Years of Independent Music
  February 22, 2012

More About

• John Schmersal
• Toko Yasuda
• The New Pornographers
• Blonde Redhead

Not unlike the New Pornographers, but with a less cohesive sound, Enon has a charm that grows from its ability to meld the disparate styles of multiple songwriters -- in this case, Schmersal (formerly of Brainiac) and Toko Yasuda (one-time bassist for Blonde Redhead). Schmersal's writing often broods, sometimes explicitly, as on the bass-heavy reflection of "Storm the Gates," but often more implicitly, as on "Spanish Boots," one of the record's strongest tracks. There, a bold, glammy guitar leads into a chorus dominated by the smirking line "Having the same conversation, the same hell," delivered in a vocal rhythm designed to keep listeners guessing and tapping their feet. The Yasuda-penned numbers provide an electro foil to the more rock-oriented contributions by Schmersal. Her catchiest tune, "Daughter in the House of Fools," begins with a rudimentary snare drum that gives way to jerky bursts of electrostatical beats and bouncy rhymes delivered in girlish moans: "Ice cream smooth/ Is the sugar gonna get her tooth?"

Occasionally, the two vocalists come together, as on "Murder Sounds," a perfect postmodern male-female duet that pairs Yasudo's sweet, ethereal coos with Schmersal's epic '80s Brit delivery. The interplay creates a rather eerie atmosphere, heightened by spooky sound effects and a film noir piano tinkling in the background.

Though Hocus-Pocusdoes, admittedly, sound like a different brain generated each alternating track, Enon manages to bring it all together within a hip, danceable mix propped up by an invitingly hyper rhythm section and vocal melodies that sweetly stick.