This devilish Danish duo of ex-Psyched Up Janis frontman Sune Rose Wagner andSharin Foo have too many elusive, historic influences to pin them down, andthey have the tunes and the sugary harmonies. And this is one of those rare,always prized cases when a sinister, firestorm-heavy sound meets innocent andsweet, but never sappy, offsetting elements in the way the much different Buzzcocksonce dazzled. Recording with a harsh, punishing drum machine pounding out aninsistent smash-beat, they put forward a psychedelic-industrial froth of grittygrime that would do mid-80s Chicago acts like Big Black or Breaking Circus,L.A.'s Savage Republic, or York, England's Red Lorry Yellow Lorryproud. They then employ a fuzz-guitar wall like 1985 Jesus and Mary Chain (abig reference), and vocals reminiscent of The House of Love's Guy Chadwick.

But all that would be mere "best laid plans" were it not for the male/femaleharmonies conjuring up memories of My Bloody Valentine and Slowdive, with thevocals mixed up for a change. Or those immediately catchy melodies and (English)words, so rhythmic and so much fun. Or the mild chaos of the backing tracks,held in tight check by Foo's motorcycle-exploding dirty bass, that wickeddrum machine, Wagner's twisting guitars, and the harmonic pop vocals. It'sno surprise that ageless Richard Gottehrer, producer of Blondie's marvelousBlondie and Plastic Letters 25 years ago (and as significantly,co-writer of The Angels' still-ubiquitous hit "My Boyfriend'sBack."), has signed on to record the group's in-progress new LP.

The only odd news is that the twosome is now a foursome, having U.S.-debuteda full lineup in July at CBGB. Though it remains to be seen, this might be thefirst time this writer might prefer a group use of a drum machine to the realMcCoy, given its perfect use here. But for now, whip this barking dog of a recordon and start singing.